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Overview of site

Introduction

This page is aimed at supporting assessors by providing direct links to a number of key resources on this site.  Content may also be found using the site menu (located at the top of the site) or the categories menu (located on the right hand side); both available from all pages.

Assignments

Two sides of the story

Photographing the unseen

Self Portraits 

1000 words

Making it up 

Learning Log

Literature (read and reviewed)

Exhibitions (attended and reviewed)

Course work with significant additional research

Experimentation

Semi-structured thoughts

Coursework

More than just a number

Course review

Assignment 3: Putting yourself in the picture – Final submission

The Brief

Drawing upon the examples in Part Three and your own research, you can approach
your self-portraits however you see fit. You may choose to explore your identity
or masquerade as someone else, or use empty locations or objects to speak of your
experiences. However you choose to approach it, use yourself – directly or indirectly –
as subject matter….

Introduction

As part of the assignment I kept a diary (here) which I subsequently used as input in selecting a topic for the brief. After some brainstorming and simply mulling over ideas, I decided upon the subject of Choices that I have faced or will face. With the focus I created a first set of images and asked for feedback (first). This feedback indicated that the images were pointing in a different, darker direction which involved tombs and ancient Egyptians. This subsequently reminded me of an exhibition I had seen (here) and it occurred to me that I may have been subliminally influenced; consequently my ideas evolved more towards a theme of Judgement. During this time I was also performing research (here). I produced updated versions for feedback and amendment (second, third) before arriving at this version for submission. After my tutor feedback I shorten the video somewhat.

Method

In order to take the images I created a studio on my patio by using a blue sheet, a stand for props and making use of the strong sunlight for lighting. The props I used were objects that have strong associations for me. I put my camera (Canon 6D with a 24-105mm lens) on a tripod and asked my wife to trigger the shutter. Use of remote control by myself was impossible since I was holding objects in both hands.

I subsequently used Lightroom and Photoshop to select and clean up the most promising images (contrast, cropping, removing extraneous objects) to make a consistent series.

To make the video and add audio I used PowerPoint and Vimeo.  I added music from a film, Under the Skin, that seemed appropriate – I asked for copyright, but it was automatically provided on YouTube.

Since I have recently acquired a printer and am experimenting with its properties (see here).

Result

Statement

Judgement

We face choices; sometimes we have decisions made for us. These define us and we are judged by them. They determine our journey through life and, maybe, beyond.

In this work, through a superposition of themes I represent choices, decisions and judgements through objects and transitions… there is an echo of the ancient Egyptian; are we looking at the present, past or future?

Video

Music composed by Mica Levi,  copyright Editions Milan Music.

Images used in video

(click to enlarge)

Contact sheets

(click to enlarge)

Discussion and Reflection

While I was working on this assignment, it morphed in terms of focus and presentation. Initially this caused me some concern, but I feel that in many cases this is a natural evolution. Critical is to “know” when the work is sufficiently mature that it should be left as it is.  I still need to evolve this sense; currently I am more driven to submit by lack of energy to progress further.

Another point that I have become more aware of is that the presentation means/context is at least important as the original images themselves.  I probably need to have this confirmed. I feel creativity in presentation is something I need to work on; my natural approach is simply straight images.

I am finding the feedback from fellow students important but I need to be aware that they  often try to steer the work in the way that they would have created it. This is OK, however I should not feel that I have to follow all the suggestions, something which I am all-too-tempted to do.

I discovered a pitfall: having discovered new ways of presenting (video) I was tempted to play with the effects rather than using effects to reinforce meaning in the work.

A final point that has emerged from this assignment is the need to balance the designing of a series of images against just letting them emerge. My natural tendency is to try to control the images rather than letting them form, following a more visceral approach. This balance is something I will have to learn.

Reflection

This section is a summary of the points from above and from supporting log entries. Now that I have one course (Expressing your vision) behind me, I use this as a reference and try to quantify this work by a rating in comparison to my previous EYV work, and using the overall result from this course as a guide. I am not attempting to compare against other students working on the same course.

Demonstration of technical and visual skills

I felt the final composition and lighting for the individual images was adequate. The video, although not perfect, I would judge acceptable from a technical perspective.

Through the extended use of Photoshop and PowerPoint to create video this has increasing my technical repertoire, but I feel I still have a way to go to master this basic technology; I may have to investigate other tools. (6/10)

Quality of outcome

My ideas have evolved. The final image set may not be quite adequate in the light of where I have ended up with my thoughts, but I don’t believe they are far off. The compositions are coherent and fit together well in the video. Open to discussion are the transitions between images where I was torn between creating rational meaning for all transitions or just using a visceral approach. In the end I have a mixture of approaches.  I have tried to harmonise these transitions with the supporting music. (6/10)

Demonstration of creativity

I feel the images and subject matter are reasonably creative but I am not yet convinced by the final video output.  Is it too predictable? Are the transitions between images perhaps too slow-moving? (5/10)

Context

I believe my research has been solid, and it was certainly enjoyable, taking me on a journey I might not otherwise have made.  (7/10)

Overall course evaluation

The brief

An overall evaluation (optional) It’s a good idea to write an overall evaluation that reflects on your learning journey as a whole, picks up on tutor feedback and highlights where your strengths lie or what you’d like to develop further. If you choose to do this, it only needs to be one side of A4 or around 500 words. Try and give a sense of how you’ve felt about your experiences. Here you can assess, reflect on and identify your best work.

Overall evaluation

When I look back over my journey through “context and narrative”  I can best express it using the Conscious Competence Learning Model where at the start of the course after having taken the “expressing your vision” I would classify my self as conscious-incompetent. The first course opened up the field of photography to me but made me aware of how much there is to learn.

competenceConscious Competence Learning Model

After the course I felt that I started to progress on acquiring a series of skills that I need to have if I am going to be able to successfully communicate ideas and thoughts via photography rather than focusing on purely the aesthetic; to use an analogy that was used by one of the OCA tutors in the discussion forum: to move from calligraphy to writing. So I feel that I am still in the consciousincompetent stage of personal development but progressing towards the consciouscompetent stage.

There are a number of learning points that I take away from the course:

  • The pleasure and power of using a more intuitive rather than rational approach
  • Through assignments being required to produce work that I would not normally do, feeling stretched but enjoying the experience
  • How having a great tutor helps in progression
  • The advantage in showing early work to an audience to gain feedback help shape

I still find difficulty: in articulating well what I am seeing and feeling; developing a voice and understanding where I want go with my photography, I have a number of ideas but these will take time to crystallise; learn to take more risks with photography and move out of the areas where I know I can do well.

The strengths that I have that I believe I can build upon are: a detailed and systematic style of working; a fair eye for composition, a passion for learning.

For this course the work that I am particularly proud of from the course are the assignments Photographing the unseen and Making it up.

For the course itself if I were to summarize my feelings towards it using the frame work of Good (what I liked), Difficult (what was not so goodDifferent (what I think could be improved then I have:

Good

  • The course structure and content (some key concepts and important photographers)
  • The support from my tutor
  • The OCA supported discussion fora
  • The OCA resources
  • The support from other C&N students
  • Support from OCA administration

Difficult

  • Being abroad not being able to easily take part in face-to-face events
  • Explanation of / reference to  some of the key photographic concepts e.g.  Abstraction; visual language and grammar

Different

  • Push myself to be thoughtful in non-course specific photography
  • Be more experimental and accepted this may entail failure.

As a bottom line the course has been a pleasure and certainly met my expectations.

Assignment 5: Making it up – Final Submission

The Brief

Construct a stand-alone image of your choice. Alternatively, you may choose to make a
series, elaborating on the same theme.
As the culminating assignment for the course you may wish to draw upon skills learned
from Parts One to Four – using various forms of narrative, using yourself as subject
matter, telling stories and reading images. The only stipulation is that you produce work
that has been controlled and directed by you for a specific purpose. Remember to create
a story with a specific context like the artists you’ve looked at in Part Five. This means
you need to have an artistic intention, so a good place to start would be to write down
some ideas. This could then form the basis for a 300-word introduction to the piece. You
may find it helpful to draw storyboards to help you visualise your ideas.
The aim of this assignment is to use props, costume, models, location, lighting, etc. to
contribute to the overall meaning of the image. (Use flash/lights if required but available
light is fine as long as it is considered.)
If the narrative is to be set in a different era then the elements of the image must reflect
this. Also consider the symbolic meanings of objects and try not to be too literal in your
approach. For example, don’t automatically use red roses in a love scene but try to be
subtle in your ideas to obtain a more true-to-life scenario.
For this final assignment, you should also include an illustrated evaluation of the process
you went through to produce your final image(s). Include snapshots of setting up the
work and write about how you felt your direction went, how you found the location,
props, etc. How did this process affect the final outcome? Write around 1,000 words in
total (including your 300-word introduction).
Send your final image(s) to your tutor, along with your commentary and relevant pages
of your learning log (or blog url).

Introduction

This blog entry is my final submission for Assignment 5, Making it up. I will provide an introduction to the image, the thought processes and approach that went into the creation of the work and finally reflection on the work.

I have related blog entries: An initial image where I gathered feedback (see here), the submission to my tutor (see here) Research that informed/influenced the image (see here) and the book Photography is Magic (see review here).

Discussion

The main point of this section is to discuss in detail the process I went through in order to produce the final image. I also, briefly, describe some of the technical aspects.

Process of producing final images

C&N Assignment 5 Process

(Click to enlarge)

The diagram above shows the high-level approach I took to get to my final image. I will take this as a basis and flesh out with more details.

Selection of subject

All through the section Constructed realities and fabricated images I was thinking about a potential subject for the assignment. Ideas that I toyed with were exploration of cubism, photocollages in the style of David Hockney or using Venice as a backdrop to something deeper. I had a short trip to Venice planned and felt there was potential there. I have in the past read Death in Venice by Thomas Mann and seen the 1971 film of the same name by Luchino Visconti. I was captivated by the story and decided to research both book and film to see if I could do an hommage. Another film and story that I contemplated using was Don’t Look Now by Daphne du Maurier, also involving action in the city of Venice; however, I decided that the Thomas Mann story simply interested me more.

Background research

I reread Death in Venice by Thomas Mann and watched the Visconti film once more before my trip. I then looked at critical reviews of both. This led me on to Friedrich Nietzsche and his introduction, in his book Birth of Tragedy, of his philosophy concerning Dionysian and Apollonian forms of art (see my research here). This resonated with me and I started to see similarities with my own artistic progression, which in turn emboldened me to head in this direction. I decided that on my trip I would look for images that illustrated Dionysian and Apollonian forms of art.  I looked for potential locations but decided in the end (primarily since I was with others) that I would not go to predetermined locations but simply look for opportunities as we visited.

Capturing images in Venice

As we went around Venice I took photographs in a number of locations, some well known (e.g. St Mark’s Square, Doges’ Palace), others less so (e.g. District of Cannaregio), looking for subjects that might be useful in interpreting Dionysian and Apollonian forms of art. In addition, I simply took shots of other subjects that I found interesting. Each night I reviewed what I had taken and this informed me as to the type of images I should concentrate on the next day. I also spent time in the art museum Galleria dell ’Accademia where a number of paintings caught my attention, particularly some triptychs by Hieronymus Bosch. I have always liked the idea of photographs capturing multiple dimensions of time as well as space and this seemed an option worth exploring.

Visualisation of final image

Back home I thought in depth about the final image I would create. I also saw this as an opportunity to learn to use Photoshop more effectively. I started crudely sketching out what a final image could look like. The background elements were clear to me, but at this stage the main subject was not.  I decided to go ahead and start to construct an image and see what happened. I had already decided on a single fabricated image rather than a series. I also decided to make a high length to height ratio image, reminiscent of the Bayeux tapestry. I was also influenced by a book that I had read, with the explicit aim of finding out where contemporary photography was heading; Photography is Magic (see review here).

Selection of images 

In Lightroom, I culled the images that I regarded as no good and then carefully reviewed them to find a set of three that I felt could act as background when merged together, moving from a Apollonian view to Dionysian, mirroring my desire to progress from mostly cerebral to more “passionate”. I also identified a number of images that I could add to reinforce this journey. In addition, I looked at photographs I had taken whilst on the OCA course and found a small number of others that I felt could fit.  However, I was still missing the main subject.

Working in Photoshop

I have, up until now, limited experience of using Photoshop. I had an idea about what I wanted to produce and so used a number of online help videos, including those from Adobe to understand how to do this. I practiced and made a prototype that went in the direction I wanted to go. It was rather clumsy, especially in cutting out individual shapes so I decided I would start afresh. This also had the advantage of reinforcing my Photoshop learning.

Deciding on main theme

Having created a background image I decided that I need additional shots to provide the main subject. It was natural to make it a self-portrait. I decided that I wanted to mimic some of the carnival costumes associated with the Venetian Carnival, but with a hint of the Aschenbach character in Death in Venice. So I dressed in old university gown and added a Panama hat. With this I took a number of shots including some seated in a deck-chair, again echoing the final scene in Death in Venice.

Finalising the image

I added the self-portraits to the image and tidied up a little. I decided not to polish at this stage, but to submit to critique to see what the rection was. The result is here. This was generally very positive, so I decided simply to make some minor changes based on this feedback plus some other minor improvements I could see. I also printed the image on my own printer to see whether there were any overt problems; I  did not see any.

At this point I also put some thought into the final presentation. I was intrigued by the idea of introducing interactivity into the image and on prompting by my tutor I investigated Adobe Animate as a tool. My main aim was to draw the viewer into the image in an interactive way, and through the use of text and movement reveal more of my intentions.

As a final submitted image my tutor proposed using a folded image approach (similar to old fashioned LP covers) to display it. In order to create this image I took a series of images that I had printed myself to a local book-binder to create the final item. Photographs of this I show below.

Technical aspects

For the photographs I used a Canon 6d with a 24-105 mm lens. I stored, did minor adjustments (contrast, exposure)  and selected the images using Lightroom. I used Photoshop to merge and adjust a number of photographs in order to  create the final image. I imported the images into Adobe Animate in order to create the interactive version. I printed images that a local book-binder used to create the final presentation.

Results

The submitted work is a folded image book, this is supported by an interactive version (see below).

Interactive version

In order to view the interactive version the following must be performed on a PC:

  1. Ensure that your browser has Flash enabled
  2. Ideally a screen resolution of greater than 1700 pixels is best
  3. The two files (HTML, SWF) need to be downloaded to a local directory.
  4. The HTML file needs to be open in the browser and Flash permitted to run

The link to the directory with the two files is here

The following are images of the final presentation:

Searching for a muse Submission

As folding triptych

 

 

Contact sheets

The following contact sheets contain the main images that I considered or used for the work.

(Click to enlarge)

Reflection

This section is a summary of the points from above and from supporting log entries. Now that I have one course (Expressing Your Vision) behind me, I use this as a reference and try to quantify this work by a rating in comparison to my previous EYV work, and using the overall result from this course as a guide. I am not attempting to compare against other students working on the same course.

Discussion

I am very happy with the end result and the way that I achieved it. I believe that it shows a well planned, strong visual image with  degree of creativity that is based both on personal and academic considerations. In producing this work I learned a lot concerning art theory as well as deepening my technical skills in Adobe Photoshop and Animate plus interacting with local book-binders.  By introducing interaction into the work I feel I have created a work of a contemporary nature and I am very pleased when I compare it with my first assignment. I feel I have come a long way.

Demonstration of technical and visual skills

I believe that the photographs I have taken that make up the image are more than adequate in telling the story. The way I have used Photoshop to combine them is, I think, also up to scratch; here I admit I still have more to learn and practise. My use of Animate to create an interactive work was also reasonable. Where I think the work is strong is in its composition. (7/10)

Quality of outcome

I believe I have been able to take research and emotion and combine them in a coherent image. The image tells a story, albeit not easy to discern for viewers who are not aware of Nietzsche’s philosophy nor Death in Venice, but I also think it has the ability to work at different levels and is complex enough that it can tell differing stories. (9/10)

Demonstration of creativity

Again (by my levels) I find the work relatively imaginative; the way I have tried in a single image to bring together a number of different concepts in an engaging manner required more than my usual inventiveness. (7/10)

Context

The process I followed and the research I performed I think are satisfactory. I have looked into a number of sources of information and used them to strongly inform the work. (7/10)

Experimentation: Essence

Introduction

As part of my attempt to include learning from my OCA course to the photography that I have been practising, I have endeavoured to take images that have primarily an aesthetic appeal and try to understand what it is that is in them that I find attractive: the Essence. I have tried to explore this by taking a number of my images and then manipulating them in Photoshop in order to look at impact of the following dimensions:

  • Spatial
    • Changing their spatial layout by distortion, grouping of areas (filter) or changing focus
  • Colour
    • Changing colours (palette or , posterize), converting to pure B&W or monochrome but not just
  • Time
    • Introduction of blur

I hope through this exercise to better understand what the essence is of an image and how altering this might impact my relationship to the image.

In addition, I also felt that this exercise would also allow me to better master a number of features of Photoshop.

Method

I took a number of images that I am particularly fond of and attempted to manipulate them in a number of ways (see above) that I felt appropriate in bringing out the central strengths of the particular image.  All my work was performed to existing images taken during my OCA time and using Lightroom and photoshop to manipulate.

Results

The following show before and after versions of images that I have manipulated.

(Click to enlarge)

Discussion

I think that generally the images have become more deeper and more interesting and have started to catch something more fundamental. Some of the images are more successful than others.

An open question in my mind is whether working an image to such a degree in post is more effective than trying imagining the final image and trying to create as close as possible with the shot. Clearly the latter approach is desirable but in my case not always possible. I often get a sense of something deeper whilst taking a shot but only in post does it crystallise. Another contributing factor is whether the image is part of a pre-planned photo shoot with definite goals or whether its is part of something more serendipitous. With the latter I think post work plays a much more important role. This whole exercise is closely related to the “art of seeing” and the ability to imagine what you would like to create before you take the shot.

Another aspect that might be worth considering is whether by manipulations where information in the image is decreased (e.g. restricted colour depth, lower resolution) in the attempt to obtain an essence it actually destroys that essence leaving something poorer than the original. My guess is this is where again the “art of seeing” play a key role.

I did some researching to see whether I could find any other experimentations in this direction but was unable to find anything useful.

 

What did I learn

  • In taking photographs think more deeply about what it is I am trying to capture rather than relying on serendipity
  • I ought to be more adventurous in working in post
  • The incredible power of Photoshop

Examples of notebook and mind mapping

Introduction

I kept an electronic notebook, using OneNote, as part of  my set of tools (see here for an overview and rationale) where I kept thoughts, rough notes, ideas etc. I  have included some screen shots to illustrate the content.

Examples

The following are screen shots from OneNote and Mind Mapper showing a series of notes that I have been keeping. These are random pages but are representative of the noes I have made.

(Click to enlarge)

Discussion

I prefer an electronic note book to a physical one primarily since for my whole working life I have had to keep electronic notes and my hand writing has suffered to a point where I find it hard to read… Plus, of course, there are all the advantages of searching, copying, sharing….

I do use hand notes when visiting exhibitions or when in (virtual) meetings but will transfer these into electronic form as soon as possible.

What did I learn

  • The need to revisit notes and act upon some of the ideas I have had or add to them in light of other experiences

Submission for assessment

Introduction

This entry provides an overview of how I plan to submit for assessment.

Results

I have a black A3 clam box which I intent to label with my name and student number. In the clam box, if necessarily protected by padding to stop the contents moving, I intend to include the following:

Not a number

  • Brief background to myself double printed on heavy paper

Assignment

To each assignment I will provide the summary text double printed on heavy paper and

  • A1 Prints A4 – Luster with A4 contact prints. Labelled on back
  • A2 A3 Photobook with A4 contact prints. Labelled on back
  • A3 A4 example shots (entry is a video) plus contact prints. Labelled on back
  • A4 Essay (single sided) on A4 heavy paper
  • A5 A3 presentation (entry is supported by a Flash interactive version).

Research and Experimentation

Some printed examples of research and experimentation which I hope show my development.

 

Discussion

I have gathered the submission material based on my first assessment (Expressing your vison) that I think went quite well plus comments provided on the OCA discussion forum and feedback from my tutor.

 

What did I learn

I was somewhat surprised by the amount of diverse material that I had gathered over the course. It reinforced the value of the course, I don’t think I would have otherwise learnt so much without its supporting structure.

 

Assignment 2: Photographing the Unseen – final submission

The Brief

Having decided on the option Photographing the Unseen the brief is:

Start by doing some reflecting in your learning log. What kinds of subjects might be seen as un-photographable? How might you go about portraying them using photography?
List a few examples of things you’re experiencing now or have recently been thinking about. This doesn’t have to be too in-depth or revealing, but it can be if you want. Equally, it might be something as apparently trivial as how you’re going to fit everything into your busy day. At first you may come up with literal examples, but the more you think about them the more those ideas will develop into specific and more original ones.
Make a list of at least seven ideas. Try and keep to things you have a personal interest in or curiosity about. Keep a notebook with you at all times and make notes when ideas strike you as interesting. (This is good practice for all stages of the degree and beyond. Ideas books are something to be revisited time and again for ideas and hints for the photographer you’re becoming.)
Now implement one of your ideas. Aim for a tightly edited and visually consistent series of 7–10 images.

Whichever assignment option you choose, send your series to your tutor by the method agreed together with an introduction of around 300 words. You should also send to your tutor the relevant pages of your learning log or blog url.

Reflection
Before you send your work to your tutor, check it against the assessment criteria listed in the introduction to this course and make sure that it meets all the criteria. Make your evaluation available to your tutor.
Your tutor may take a while to get back to you. Carry on with the course while you’re waiting but please don’t attempt the next assignment until you’ve received your tutor’s feedback on this one

Introduction

Having decided on the assignment Photographing the Unseen, I performed a number of activities (not strictly in a linear manner):

  • I looked into possible topics and selected a topic (see here): the loss of mystery and wonder as we age;
  • Performed research into the Unseen where I considered what (broadly) could be considered Unseen, how it might be represented in images, historical perspective to montage, Wonder and Mystery, thoughts about Photoshop, and contemporary photographers that influence me in this work (see here);
  • Produced an initial (see here) and updated (see here) set of images for critique via the OCA forum and two biweekly Hangout sessions. The feedback is recorded in the links.
  • Asked for feedback from my tutor on this version.

To the latter point the most significant change was to take Clives advice and present the images in the form of a photobook.

This entry records my submission, incorporating updates based on feedback and research.

Method

Using an opportunity whilst performing volunteer work in Nepal I took a series of images using my Canon 6d with a 24-105mm lens. I also scanned a series of 40-year-old slides, photos that I had taken on my previous trip to Nepal.

Many of the images I captured on my recent trip showed modern scenes that could be seen almost anywhere, to me almost mundane and banal; however, they often begged to be compared with analogous scenes from the past.  Nearly everything I saw in Nepal 40 years ago was amazing, new, wonderful and mysterious. In order to capture this loss as an image I felt that (contrary to common practice) the best way was to represent the new in shades of grey and the past as something colourful. I felt having the images overlaid best represented what I saw, rather than having them as separate images.  In terms of content I tried to have images that were of the same subject but with elements that acted as juxtaposition in order to emphasise change.

In order to create the overlay effect I combined images from the two sets in Photoshop, where I converted the newer set to black and white and increased the contrast. With the older set I enhanced the vibrance and saturation  and then used the advanced blending option in order to bring the two images together. I experimented extensively with differing amounts of contrast and vibrance, as well as blending options in order to a) create “distance” between the two images, b) retain a consistent look and aesthetic. I had a number of candidate images (see contact sheet) from which I then selected the final set and ordered these.

I then added a title and text, acting in part as relay, and the final text more as anchor.

In order to produce the photobook I consider a number of options, including self-printing but decided on using a Swiss on-line service. I record some of this printing experience here. I chose a A3, matt photopaper option with a flat binding.

Result

The following are some views of the photobook I created.

(Click to enlarge)

Contact sheets

A selection of individual and combined images that I considered.

(Click to enlarge)

 

Discussion and reflection

My starting  idea for the topic was simply the capturing of memory. The final idea of trying to catch the loss of wonder and mystery that we experience as we grow older only crystallised after feedback and discussion from initial image sets.  In order to represent this, it seemed natural to create a superposition of the old and the new, as did creating the new as black and white and the older as colour, since this reflected my feelings.

I find the images require attention to interpret,  I have simplified them to an extent, but did not want to over-simplify since I believe that requiring the viewer to take some time and interpret them enhances them as a set. Using overlay as a technique also provides a pleasing aesthetic which for me is an important aspect of photography.

The images I feel need text to provide a linkage to the theme of wonder and mystery;  without this I feel the series would be too ambiguous for most people, perhaps only seeing the change in the world and not the change in the photographer. I am still struggling with the concept of leaving images open to interpretation; I worry that to many viewers there is a fine line between ambiguity and meaninglessness. I have learned that the images that one creates (with exceptions, e.g. for advertising) are primarily for the photographer, and others take what they can from them.  This instinctively still feels wrong to me… let’s see how I progress.

For a final presentation I considered a number of options:

  • Simple images on a wall (horizontal) interspersed with text
  • A projection of the images and text
  • A book where one side of a double page is printed on transparent paper such that it could be overlaid onto the other, creating a similar effect to digitally combining the images

I am intrigued by the third option and may, if time and money (!) permit, explore this possibility. By default I would go with the first option.

As a final remark I think the way the topic evolved pushed me to the limit of my current abilities (perhaps even beyond).  I learnt a lot by tackling it, especially in interpreting feedback.

Reflection

This is a summary of the points above and from supporting log entries. Now that I have a course behind me I use this as a reference and try to quantify the work by a rating (out of ten) in comparison to my previous EYV work and using the overall course result as a guide.

Demonstration of technical and visual skills

I feel that in the choice of images and the means that they come together that I have been relatively successful. (7/10)

Quality of outcome

The subject (loss of wonder) I think is an interesting one.  I have increased my technical skills. Although the images in the final set are coherent and interesting they need some support in interpretation. (5/10)

Demonstration of creativity

I have experimented in a number of ways and think on a personal (rather than an absolute) level the end results are reasonably creative.  If I were to experiment with a book as final presentation I think this aspect could be improved (6/10)

Context

The research, feedback I sought for (and obtained) and reflection I believe are reasonable. (6/10)

Assignment 4: Tutor feedback

Introduction

I submitted an version of my essay to me tutor and this entry

Feedback

My notes

  • Text is good, no need to amend
  • Consider that the essay needs to be submitted and format the essay so that it is easy to read and mark.

Tutor feedback

As discussed, after taking into account the feedback you received from the forum in your final version, my concern was with the readability of the formatting; using sub headings and laying out a short bullet pointed schema of the flow of the argument.
Of course, there are many different paths one could take, as illustrated by the forum feedback you received but in one thousand words there’s no space for detours. The form of your analysis was appropriate to the image you chose and was cogent in my opinion.

 

Comments

Based on this feedback and further reflection I saw no need to update my entry.

Assignment 5: Tutor feedback

Introduction

On submitting this entry for comment in discussion with my tutor I got the following feedback.

Feedback

  • The interesting image is reminiscent of a stage with characters
  • The submitted image should include animation to make it stronger, use Adobe Animate
  • The animation is good, consider further development
  • Consider the resolution of the assessor’s computer and aim for a resolution of ca. 1700 pixels
  • Need to check with tech support that flash files can be uploaded and that Flash is enabled in the Chrome browser

General
Of course it was your idea to introduce animation, which gave us both a chance to have a learning experience with Adobe Animate, me after the sad demise of Director and for the assignment Hangout the work was a still image and we subsequently exchanged emails on the animation effects.
My feeling is that the animation should be couched as an extension activity with a print leading but depending on the final outcome of the animation. Perhaps the print could be in the form of a hinged triptych, like a gatefold LP of old.
Obviously in the early versions of the animation you’re trying things out to see what effects are possible. You are getting the technical aspects under control to be able to create the necessary effects but those need to be put in service of the atmosphere and
meaning of the work so that it doesn’t come across as a bravura display of technique but as a way of enhancing involvement and creating a depth appropriate to the seriousness of the intent. It’s a delicate balancing act so it would be good to have the print up front as insurance. I would be pleased to see the final form of the animation.

Coursework
Approached in your usual rational and ordered style
Research
You are engaged and thinking carefully from the position of your world view.

Learning Log
In considering the handwritten diary entries you’ve included you have identified an area to improve on before submission for assessment and that’s the need for more reflective entries; particularly on how your conception of what you’re engaged in as an image maker is evolving on a regular basis, in tandem with your developing views on contemporary photographic culture.

Suggested reading/viewing

I think the form with which you’re documenting your reading is effective. Keep adding to it.

Comment

As (nearly) always I find that Clives comments are very insightful. His ideas about a triptych I found particularly interesting and will develop the work in this direction. I will also review the animation to see that it builds upon the narrative I am trying to create.