Well, after 2 months of paffing and not being able to get going with Section 4, I decided to end this course and switch to Context and Narrative. It's a pity in some respects; I've lost a year from my programme, but at the same time Context and Narrative is far more relevant to the direction I'm going.
A big thank you to my tutor for her support and encouragement over the past year!
Here is the link to my Context and Narrative blog.
Wednesday 9 July 2014
Thursday 12 June 2014
WINNER Assignment #26 - Silhouettes
Absolutely thrilled to find out!! This is one of the photos I submitted for Assignment Two for this course!
Wednesday 28 May 2014
Assignment Three - Monochrome - Feedback
Well, delighted to get really positive feedback from my tutor with no corrections/reshoots. Very very happy!
The suggested reading/viewing for me is to select one photographer or a photographic movement that is most relevant to me and analyze their images in more depth. As a pointer for the next assignment, my tutor would like to see more in depth research on a photographer / photographic movement that interests me. I'm not sure how to tie that in for the next assignment, but I can definitely do it for Assignment 5.
Finally, an added bonus, I contacted Justin Minns, whose picture of the sea defences inspired the original idea for this assignment, to let him know about my project. He really liked the idea and the output and so put a post on the Felixstowe Photographic Society Facebook page! (today's date)
So all in all, a really pleasing round of feedback!
The suggested reading/viewing for me is to select one photographer or a photographic movement that is most relevant to me and analyze their images in more depth. As a pointer for the next assignment, my tutor would like to see more in depth research on a photographer / photographic movement that interests me. I'm not sure how to tie that in for the next assignment, but I can definitely do it for Assignment 5.
Finally, an added bonus, I contacted Justin Minns, whose picture of the sea defences inspired the original idea for this assignment, to let him know about my project. He really liked the idea and the output and so put a post on the Felixstowe Photographic Society Facebook page! (today's date)
So all in all, a really pleasing round of feedback!
Sunday 25 May 2014
Rules of Composition - Digital Camera World
http://www.digitalcameraworld.com/2012/04/12/10-rules-of-photo-composition-and-why-they-work/#null
Useful article - recording so as not to lose the reference!
Useful article - recording so as not to lose the reference!
The Power of Place - Dolores Hayden - MIT Press
I read a section of The Power of Place: Urban Landscapes of Public History as research for Assignment Three, recognising that this is particularly likely to be useful reference material for Landscape module (which is still years away for me!).
Of particular relevance were the pages 46-48 on place memory. Hayden debates the argument that places are containers for memories, that memories connect with places. Places represent shared pasts, and therefore shared memories.
I think that my experience of photographing Felixstowe has proved this to be true. By being in the place, I found things that triggered memories, things I had forgotten, and feelings that I was actually at peace with. And of course, although the nature of the memories are not the same, these memories are shared with my parents, aunts, sister and were part of my grandparents memories when they were alive.
What is interesting is that we can travel to places that evoke memories - it's almost like time traveling but from an emotive perspective. By traveling to a place that contains memories, we also travel back in time, in our minds, to recreate those memories.
Of particular relevance were the pages 46-48 on place memory. Hayden debates the argument that places are containers for memories, that memories connect with places. Places represent shared pasts, and therefore shared memories.
I think that my experience of photographing Felixstowe has proved this to be true. By being in the place, I found things that triggered memories, things I had forgotten, and feelings that I was actually at peace with. And of course, although the nature of the memories are not the same, these memories are shared with my parents, aunts, sister and were part of my grandparents memories when they were alive.
What is interesting is that we can travel to places that evoke memories - it's almost like time traveling but from an emotive perspective. By traveling to a place that contains memories, we also travel back in time, in our minds, to recreate those memories.
Assignment Three - Monochrome - Panel
I have added a panel of my work for Assignment Three, just for the eventuality that the clarity is compromised in the powerpoint slides, or if someone wants to view photos only online without the text:
Assignment Three - Monochrome - Reflections
Here are my reflections on my submission for Assignment Three against the assessment criteria.
Technical and visual skills:
I think these are present in this piece of work; certainly in the shooting, but I'm aware there's more to do and learn in processing - particularly with respect to black and white landscape. Before starting my next course, I'll take a month's break to focus on learning to use Nikon Capture. In the end, I think one of the most technically good shots was the second one of my aunt's house in Orwell Road. This worked well in both shooting (which involved me sitting in the road to get this angle!) and in processing. Had I not clipped the top of the chimney pot (that happened in straightening), it would have been better!
Quality of outcome:
My tutor has been trying to encourage me to work more on presentation, connotation and denotation, and to consider who my audience might be and how it would be displayed. I think that with this piece of work, there has been a significant improvement. I have conceptualised my thoughts, attempted to live out an idea and to produce the output from that in a manner that is visually pleasing and also user friendly. I would also be able to submit prints from this in the form of a panel. I think the two shots that really convey the time gone by and happy nostalgia are the inside of the pier and the deserted fairground. I also really liked the extreme dynamic range of these two.
Demonstration of creativity:
I think this is my most creative piece of work to-date. The whole body in itself holds together to tell a story. In fact, I would have liked to have included more photos, and also I think on reflection that I would have preferred colour for this exercise; for example, the beachhuts image is better in colour (and in square format but I wanted to be consistent on that throughout the production) although the graphic shapes of the hut roofs are nice in b&w.
The other shot that worked better in colour was the one of the Martello Tower - particularly with the contrast of the green grass against the purple sky. But, like the beach huts, the conversion to black and white makes you focus more on the shapes than the colours. Incidentally, I think if I was going to photograph this structure again, I think I would stand a lot further back to make it smaller in the frame and add a sense of isolation to the scene. Particularly if the sky is dramatic like was on this day!
Have I found personal voice? I think so on this occasion. Because of my insight into the subject matter and the object of the exercise, I took very personal photographs. I don't know if this is a personal voice that can be replicated on another occasion. That remains to be seen. I however, I intend to move further into the direction of documentary, so maybe.
Context:
Research; I didn't do as much research as I had intended, but then my list was very long, and also a lot of what had been suggested to me turned out to be not as directly relevant as I'd hoped. Because the bulk of it wasn't relevant, it hasn't been written up or cross-referenced in the way I usually would. This was not a rephotography exercise (I was too young to have landscape photographs), nor was it an exercise about family frames. This was about the location more than anything else, and the memories associated with that location. I would say that this is more of a personal and instinctive piece of work. I now asked my family if any of them have any photos (I didn't want to see them before I went so as not to ruin the rediscovery moment) - so if they do, I'll add this as a ps to the exercise.
The only shot that I didn't get that I was really hoping for was to find an old man walking with a young girl along the beach in search of stones. I'd had visions of converging diagonals and the pair of them walking into a high key background, but unfortunately I didn't spot anything like that.
Assignment Brief:
I chose this subject for the reasons explained in Preparation, the ideas for which were conceived three months ago now. I wanted to examine the relationship between my childhood memories, and the reality of the location now, and whether new memories would replace old ones. The conclusion from this is that my memories were quite accurate and that I have created a new memory on top (not replaced) - although helped by the 30 year gap!
In terms of what I set out to achieve photographically, i.e in black and white, I think on the whole the images in my final selection worked well (not all that I took worked this well). I looked for clear graphical shapes and strong lines, as in beach huts and the Martello Tower, and inside the pier and the dodgems, and also looked for strong diagonals as in the perspectives of the houses and pier, but I also found that strong colours (with some assistance in some cases) also converted well, for example the red on the signing of the pier. The sky on the day really helped to add mood and drama to the photography, which hadn't necessarily been my objective but it came through on the day. I had thought the b&w might add a sense of history, but I don't think it did in the end. I think Felixstowe actually does that on its own with its Edwardian structures and feel of longevity. The question I'm asking myself now, is that I am considering submitting these to the LIP exhibition this year: do I rework them in colour or retain the mono? Do I also drop one of the pictures to make a panel of 9, which is more pleasing as a display?
Overall, I'm very pleased with this piece of work and the experience was very enjoyable. It might be a place I revisit in the Landscape module to do more long exposure and atmospheric work, and this time I'll stay the weekend instead of rushing around!
Technical and visual skills:
I think these are present in this piece of work; certainly in the shooting, but I'm aware there's more to do and learn in processing - particularly with respect to black and white landscape. Before starting my next course, I'll take a month's break to focus on learning to use Nikon Capture. In the end, I think one of the most technically good shots was the second one of my aunt's house in Orwell Road. This worked well in both shooting (which involved me sitting in the road to get this angle!) and in processing. Had I not clipped the top of the chimney pot (that happened in straightening), it would have been better!
Quality of outcome:
My tutor has been trying to encourage me to work more on presentation, connotation and denotation, and to consider who my audience might be and how it would be displayed. I think that with this piece of work, there has been a significant improvement. I have conceptualised my thoughts, attempted to live out an idea and to produce the output from that in a manner that is visually pleasing and also user friendly. I would also be able to submit prints from this in the form of a panel. I think the two shots that really convey the time gone by and happy nostalgia are the inside of the pier and the deserted fairground. I also really liked the extreme dynamic range of these two.
Demonstration of creativity:
I think this is my most creative piece of work to-date. The whole body in itself holds together to tell a story. In fact, I would have liked to have included more photos, and also I think on reflection that I would have preferred colour for this exercise; for example, the beachhuts image is better in colour (and in square format but I wanted to be consistent on that throughout the production) although the graphic shapes of the hut roofs are nice in b&w.
The other shot that worked better in colour was the one of the Martello Tower - particularly with the contrast of the green grass against the purple sky. But, like the beach huts, the conversion to black and white makes you focus more on the shapes than the colours. Incidentally, I think if I was going to photograph this structure again, I think I would stand a lot further back to make it smaller in the frame and add a sense of isolation to the scene. Particularly if the sky is dramatic like was on this day!
Have I found personal voice? I think so on this occasion. Because of my insight into the subject matter and the object of the exercise, I took very personal photographs. I don't know if this is a personal voice that can be replicated on another occasion. That remains to be seen. I however, I intend to move further into the direction of documentary, so maybe.
Context:
Research; I didn't do as much research as I had intended, but then my list was very long, and also a lot of what had been suggested to me turned out to be not as directly relevant as I'd hoped. Because the bulk of it wasn't relevant, it hasn't been written up or cross-referenced in the way I usually would. This was not a rephotography exercise (I was too young to have landscape photographs), nor was it an exercise about family frames. This was about the location more than anything else, and the memories associated with that location. I would say that this is more of a personal and instinctive piece of work. I now asked my family if any of them have any photos (I didn't want to see them before I went so as not to ruin the rediscovery moment) - so if they do, I'll add this as a ps to the exercise.
The only shot that I didn't get that I was really hoping for was to find an old man walking with a young girl along the beach in search of stones. I'd had visions of converging diagonals and the pair of them walking into a high key background, but unfortunately I didn't spot anything like that.
Assignment Brief:
I chose this subject for the reasons explained in Preparation, the ideas for which were conceived three months ago now. I wanted to examine the relationship between my childhood memories, and the reality of the location now, and whether new memories would replace old ones. The conclusion from this is that my memories were quite accurate and that I have created a new memory on top (not replaced) - although helped by the 30 year gap!
In terms of what I set out to achieve photographically, i.e in black and white, I think on the whole the images in my final selection worked well (not all that I took worked this well). I looked for clear graphical shapes and strong lines, as in beach huts and the Martello Tower, and inside the pier and the dodgems, and also looked for strong diagonals as in the perspectives of the houses and pier, but I also found that strong colours (with some assistance in some cases) also converted well, for example the red on the signing of the pier. The sky on the day really helped to add mood and drama to the photography, which hadn't necessarily been my objective but it came through on the day. I had thought the b&w might add a sense of history, but I don't think it did in the end. I think Felixstowe actually does that on its own with its Edwardian structures and feel of longevity. The question I'm asking myself now, is that I am considering submitting these to the LIP exhibition this year: do I rework them in colour or retain the mono? Do I also drop one of the pictures to make a panel of 9, which is more pleasing as a display?
Overall, I'm very pleased with this piece of work and the experience was very enjoyable. It might be a place I revisit in the Landscape module to do more long exposure and atmospheric work, and this time I'll stay the weekend instead of rushing around!
Assignment Three - Monochrome - Execution
Shooting and selection
Well, on the day that I was able to get to Felixstowe, I was blessed with a stunning sky. I really couldn't have been any luckier! Dark clouds and bright light is my favourite landscape combo! I set my camera to default to half a stop under to make the most of the sky and also to avoid highlights from the bright flashes of light (in between rain). I got there around midday and spent the afternoon walking around trying to retrace my childhood steps. During the drive up, I felt a little anxious - It's around 28 years since my grandfather passed away and my grandmother moved away from the area about a year later. So I wondered if the whole thing would be emotionally overwhelming, or would I find that the town was not as I remembered and feel disappointed or even let down?
What actually happened was the complete opposite. Felixstowe has suffered a degree of modernisation, i.e. Tesco, Costa etc, but it still has the same look and feel as before. Quaint, old, English seaside town and it is not run down or under invested like other coastal locations. In fact, there was evidence of restoration and investment. I was able to find the places I looked for, was surprised how small the town and the places I visited seemed (which is also obvious as I was small before!) and it was an experience of happy memories. Visiting my grandparents homes in particular, was a bit strange, particularly the second one 43 Brook Lane (as I was older then); I was expecting to feel a sense of loss, but in fact they were empty shells, the character of my grandparents had gone, new characters in place. But in a good way, not an upsetting way; just that time had moved on. This raises questions then about whether experience and attachment are attributed to people rather than place (which in a way contradicts my commentary on Hayden).
I took every lens, filter, tripod and piece of equipment that I have with me. I did not want to get caught out by not having the right piece with me if I wanted to use it. And I carried it around all day, so by the end of the day I had backache, neck ache and foot ache (new shoes). And, in the end, I only used my wide-angle lens, as is often the case when I am prepared! I don't know why this happened, but I just wanted to shoot in wide-angle; perhaps because the sky was so amazing that day. I also didn't want to try any long-exposure shots on the day, although the sky was perfect for that. The whole day became about the moment of rediscovery - it wasn't about art in the end. I wanted to record that moment as it was, without interfering with it. So although my original intention had been to represent child-like halycon high key type shots with tons of atmosphere, in the moment I actually wanted it to be factual in the end.
My only regret was that I crammed it all in to one afternoon. I should have taken the weekend off and stayed there a bit longer. But, overall, I consider the experiment a success; it hasn't altered my previous memories, more that new ones have been laid down, as I remember this trip as an isolated event. And I came away feeling that it would be a really nice place to live!
The execution itself was great - I got enough to meet the assignment requirements (5-10); my only problem now was how to narrow it down. Here is my shortlist (unprocessed apart from straightening) - 15 in total:
The stars indicate my initial selection for a shorter list. I decided to omit 4772, as this was not taken of a specific place that I had wanted to find. The cinema and junction of the road was something I had forgotten but then remembered when I found it. 4857 is of the ice cream shop that I had remembered, but I don't think that this is a great photo - the lighting was not very good at the time of shooting. And actually I missed the shot; I should have photographed the old people's day centre next door - I used to think that I would end up there one day! And lastly 4891, which is taken in the place that Justin Minns took his winning shot for LPOTY and from where the original idea for this assignment came. Although this was not a memory that I had, the groynes were in fact new, replacing wooden structures, that I think I now recollect, I would like to have included this in the sequence, but I don't think the execution was very strong and certainly not up to the same standard as Minns! This left two more to eliminate.
The next image I chose to leave out was 4774 taken inside the former Mayflower Chinese restaurant. This was a tough decision, particularly as the original paintings and fish tank were still there (probably different fish) and it was quite a vivid part of my memory bank, but the image doesn't work in black and white and also being empty has a sense of sadness about it that is inconsistent with my previous visits.
The final choice was between 4799 and 4893. 4799 works well in colour, but in black and white the geometric shapes also stand out. 4893 shows a storm in the distance, but this is not unique to Felixstowe - I see storms everywhere so to include this one would have been a subjective decision based on the drama of the storm and not of my memories of Felixstowe. In the end I stuck with the beach huts as this is such a strong component of my overall previous visits there.
Initial Processing
So, with my short short list of ten photographs:
The next stage was to look at the exposure, contrast, sharpening and to see if straightforward monochrome conversion was sufficient or if I needed to adjust the the colours prior to conversion. As always, this process began in View NX2 being the easiest system for editing.
Elements:
I removed the left hand seagull in 4853 using the spot healing brush:
Nikon Capture:
4755: using the colour control points, I saturated the sky and desaturated the brick and hedges:
This made such a difference (my use of Capture is really hit and miss, so was pleasantly surprised!), that I decided I needed to check all the images again using this process, including the other one ear-marked for this treatment: 4871. (4799, 4812 4828, 4842 and 4901 didn't need this). I did notice though that you have to be careful with this process - it can add noise.
Elements:
The final stage was to convert all the images into JPEGs and double check them all in Elements for blemishes using the spot healing brush. I also sharpened each image sightly.
Finally, I had a JPEG for each shot ready for final presentation.
The only other decision remaining was how to present this work. This work will have three audiences at least: my OCA tutor and the assessors, members of my family, and also the Crossing Lines group I belong to that gave me so many helpful tips. I decided to create a slideshow so that I could add text and also make it easy to display.
Well, on the day that I was able to get to Felixstowe, I was blessed with a stunning sky. I really couldn't have been any luckier! Dark clouds and bright light is my favourite landscape combo! I set my camera to default to half a stop under to make the most of the sky and also to avoid highlights from the bright flashes of light (in between rain). I got there around midday and spent the afternoon walking around trying to retrace my childhood steps. During the drive up, I felt a little anxious - It's around 28 years since my grandfather passed away and my grandmother moved away from the area about a year later. So I wondered if the whole thing would be emotionally overwhelming, or would I find that the town was not as I remembered and feel disappointed or even let down?
What actually happened was the complete opposite. Felixstowe has suffered a degree of modernisation, i.e. Tesco, Costa etc, but it still has the same look and feel as before. Quaint, old, English seaside town and it is not run down or under invested like other coastal locations. In fact, there was evidence of restoration and investment. I was able to find the places I looked for, was surprised how small the town and the places I visited seemed (which is also obvious as I was small before!) and it was an experience of happy memories. Visiting my grandparents homes in particular, was a bit strange, particularly the second one 43 Brook Lane (as I was older then); I was expecting to feel a sense of loss, but in fact they were empty shells, the character of my grandparents had gone, new characters in place. But in a good way, not an upsetting way; just that time had moved on. This raises questions then about whether experience and attachment are attributed to people rather than place (which in a way contradicts my commentary on Hayden).
I took every lens, filter, tripod and piece of equipment that I have with me. I did not want to get caught out by not having the right piece with me if I wanted to use it. And I carried it around all day, so by the end of the day I had backache, neck ache and foot ache (new shoes). And, in the end, I only used my wide-angle lens, as is often the case when I am prepared! I don't know why this happened, but I just wanted to shoot in wide-angle; perhaps because the sky was so amazing that day. I also didn't want to try any long-exposure shots on the day, although the sky was perfect for that. The whole day became about the moment of rediscovery - it wasn't about art in the end. I wanted to record that moment as it was, without interfering with it. So although my original intention had been to represent child-like halycon high key type shots with tons of atmosphere, in the moment I actually wanted it to be factual in the end.
My only regret was that I crammed it all in to one afternoon. I should have taken the weekend off and stayed there a bit longer. But, overall, I consider the experiment a success; it hasn't altered my previous memories, more that new ones have been laid down, as I remember this trip as an isolated event. And I came away feeling that it would be a really nice place to live!
The execution itself was great - I got enough to meet the assignment requirements (5-10); my only problem now was how to narrow it down. Here is my shortlist (unprocessed apart from straightening) - 15 in total:
The stars indicate my initial selection for a shorter list. I decided to omit 4772, as this was not taken of a specific place that I had wanted to find. The cinema and junction of the road was something I had forgotten but then remembered when I found it. 4857 is of the ice cream shop that I had remembered, but I don't think that this is a great photo - the lighting was not very good at the time of shooting. And actually I missed the shot; I should have photographed the old people's day centre next door - I used to think that I would end up there one day! And lastly 4891, which is taken in the place that Justin Minns took his winning shot for LPOTY and from where the original idea for this assignment came. Although this was not a memory that I had, the groynes were in fact new, replacing wooden structures, that I think I now recollect, I would like to have included this in the sequence, but I don't think the execution was very strong and certainly not up to the same standard as Minns! This left two more to eliminate.
The next image I chose to leave out was 4774 taken inside the former Mayflower Chinese restaurant. This was a tough decision, particularly as the original paintings and fish tank were still there (probably different fish) and it was quite a vivid part of my memory bank, but the image doesn't work in black and white and also being empty has a sense of sadness about it that is inconsistent with my previous visits.
The final choice was between 4799 and 4893. 4799 works well in colour, but in black and white the geometric shapes also stand out. 4893 shows a storm in the distance, but this is not unique to Felixstowe - I see storms everywhere so to include this one would have been a subjective decision based on the drama of the storm and not of my memories of Felixstowe. In the end I stuck with the beach huts as this is such a strong component of my overall previous visits there.
Initial Processing
So, with my short short list of ten photographs:
The next stage was to look at the exposure, contrast, sharpening and to see if straightforward monochrome conversion was sufficient or if I needed to adjust the the colours prior to conversion. As always, this process began in View NX2 being the easiest system for editing.
- 4738: exposure excellent, mono conversion works fine, no colour adjustment required, slight increase in contrast added
- 4775: shot 1/2 stop under - restored to average in processing, converted to mono, but seems that blue needs darkening and red needs lightening; image reserved for treatment in Capture NX2
- 4799: shot 1/2 stop under - exposure then adjusted to another half under (darkened the sky), increased contrast, converted to mono
- 4812: considered cropping out foreground to letter box shape, but like leading lines of floor towards dodgems (need to ensure preserved in mono); exposure - background sky is blown out, but I like this - adds a sense of dream/weirdness to the scene - exposure shot 1/2 stop under, but in fact scene afforded another 1/2 stop under without losing leading lines - really like the dynamic contrast
- 4816: shot 1/2 stop under - resulting image is under exposed - but nice strong colours! Exposure adjusted to a net 1/2 stop over exposed, and contrast added. This worked well in colour, but not in b&w - the whites were too blown, so I restored the exposure to average and removed the contrast.
- 4828: shot 1/2 stop under - restored to average in processing, converted to mono, and added lots of contrast. I really wanted the barrier to stand out.
- 4842: I really liked this image in colour. Again 1/2 stop under, I considered bringing back the lost detail, but I think the dark adds a sense of mystery. Question is would it work in b&w? In mono it was just a bit too dark, so I restored the exposure to average. I did check if 1/2 stop over would work, but that brought out too much detail in the carpets etc, so I left the exposure at average.
- 4853: I found that in mono, this was overexposed in parts - there was not enough dynamic range, so I converted to a net 1 stop under and added back some brightness. The seagull in the top left-hand corner is distracting (the other one is ok), so this will need treatment in elements to remove that.
- 4871: very badly exposed! The light had changed and I hadn't checked to move my default setting. I changed this to a net half a stop over, which brought back some of the lost detail, but couldn't go any further due to the white. This image needs some treatment to darken the blue, and lighten the green; image reserved for treatment in Capture NX2.
- 4901: exposure shot at average (had now changed my default setting) works great in mono - no other adjustments were required except a tiny amount of contrast.
Elements:
I removed the left hand seagull in 4853 using the spot healing brush:
Nikon Capture:
4755: using the colour control points, I saturated the sky and desaturated the brick and hedges:
This made such a difference (my use of Capture is really hit and miss, so was pleasantly surprised!), that I decided I needed to check all the images again using this process, including the other one ear-marked for this treatment: 4871. (4799, 4812 4828, 4842 and 4901 didn't need this). I did notice though that you have to be careful with this process - it can add noise.
Elements:
The final stage was to convert all the images into JPEGs and double check them all in Elements for blemishes using the spot healing brush. I also sharpened each image sightly.
Finally, I had a JPEG for each shot ready for final presentation.
The only other decision remaining was how to present this work. This work will have three audiences at least: my OCA tutor and the assessors, members of my family, and also the Crossing Lines group I belong to that gave me so many helpful tips. I decided to create a slideshow so that I could add text and also make it easy to display.
Prix Pictet - Consumption
I participated on the study visit yesterday to the Prix Pictet - Consumption exhibition at the Victoria and Albert museum. I had been bowled over by the previous one (Power) so was really excited to be able to make this one too. The best thing about these visits is the opportunity to meet and interact with tutors and other students.
This cycle however (the fifth) wasn't as striking or impactful overall as the fourth. I found elements of it amazing (which I will elaborate on further down) but also there were sections that I didn't feel were as compelling including the Laureate, Michael Schmidt, who also sadly died yesterday.
My notes below set out the order in which I viewed the exhibition.
Adam Bartos - Yard Sale
This is the first portfolio you see as you walk through the door, and I could really relate to this. Uncomplicated context - quite simply a visual representation of clutter and stuff that can be accumulated and then has to be got rid of. It reminded me of having car boot sales when moving house! One picture I really liked was "Ernie & Mattress"; this has echoes of the end of a childhood with the familiar face of the Sesame Street character and the small single mattress, plus a few other toys. For me this image really conveys the idea of ongoing consumption through the passage of life.
Hong Hao - My Things
I loved this - it was visually striking and unconventional in approach. To paraphrase the artist's statement, Hao scanned everyday objects over a period of 12 years to create a collection of artifacts that he then assembled into huge single images. What is immediately striking about these images is that they are 2D - you see a flat surface. It's as if they were laid out on a glass coffee table and photographed from underneath. What's also intriguing, is how he decided the composition during the assemblage process?
For instance, in "Book - Keeping of 2007 A", there is a definite composition; all there are two sets of books in opposing corners, small thing in the middle that draw your eye in, red (which has meaning in Chinese culture) in a few but not many places, tickets and CDs all together; so despite the immediate feeling of chaos, when you look closely it's actually very ordered. You could also look at this portfolio for hours and always see something new. Its colourful, geometric - and as one of the other students (Dave Hins) said, like a tetris game where all the shapes are neatly stacked. And all of the objects seem to have a valid purpose. Yes, there are about consumption, but not necessarily bad consumption - these are about information (books, CDs, business cards).
In contrast, "My Things No 1" is very chaotic. You see rubbish, decaying food, the underside of fridge magnets - waste in other words. And what is the inclusion of the hand about?
The third image on display from this portfolio, "Bottom No 4", is very "beige"..... It shows the underside of everyday technology objects and packaging. Not colourful, nor geometic, still ordered, does it have less impact? Is this supposed to represent items we don't even notice?
For me, this collection was the most successful of all the portfolios on the consumption theme. It really brought home how much stuff we have in our lives, and how much we throw away, how much we don't need, or even how much we do need! It's a pity the whole portfolio wasn't on display, I would liked to have seen it, and I would dare to suggest that Hao should have been the Laureate!
Motoyuki Daifu - Project Family
This collection was very surprising! This is not how I imagine life in Japan! This portfolio shows chaos, lack of order, lack of discipline, extreme clutter, poor kitchen hygiene - all the opposites to my perception of Japanese culture. Of course space is an issue in Japan, but even so, this is more reflective of how students live, not families! In this portfolio, there is a polar relationship between the tiny space this family occupies, and the amount of stuff they have: two extremes that have collided. Very interesting!
Abraham Oghobase - Untitled
This portfolio depicts guerrilla classifieds - brought about by the lack of space for advertising (due to every available surface being taken). The photographer interacts with the pictures to demonstrate their lack of effectiveness. Interesting, but not sure I like it. I haven't been to Nigeria, but I used to live in Senegal and space is a problem there. But if I had wanted to make a statement about consumption, I would have highlighted the rubbish tips (and children playing/animals feeding on them), people living in makeshift housing, chaotic and disordered architecture, the nouveau riche elements, rubbish in the streets, people living in the streets (antithesis of consumption?), and the enormous food supplies (surprising in a country with little resources).
Juan Fernando Herran - Escalas
There were some interesting images in this portfolio and particularly when compared with Project Family above. This series is about people living underground or on the margins of society - due to the lack of space. Shot in Medellin in Colombia, you really get a sense of this lack of space. I was particularly interested in the image "Own Place". Immediately struck by the clarity and light of the image (which you would not expect for an underground shot?) and the converging lines composition which is very effective, this is just amazing that someone should live here, with so little, and also keep it so clean - look at the brush in the bottom left-hand corner!! This is the complete opposite to the Japanese family above, who perhaps were not financially compromised and who had too much stuff for their space and were not able to keep their space clean. Also looking at this image, you see gaps in the roof - what happens when it rains? Interestingly, the starburst effect of the light, is almost an import of the sun (assume narrow aperture?) - it's a proper underground world.
Laurie Simmons
When I saw this at the exhibition, I didn't know if Simmons was male or female, which raised a lot of obvious questions in my head.....I have since looked at the Prix Pictet website and know that she is female. This is a surprising portfolio in many ways, and apart from the obvious quality of the photography, which is stunning, and that it made me remember the TAOP Assignment 4 exercise, I really enjoyed the challenges and intellectual arguments it raises. The questions I initially asked, were about gender and sexual orientation. I got the bit about loneliness in a crowded society (like social media?) - not having real relationships, but I wanted to know if the photographer had done this as an artistic experiment, or was he/she living vicariously through the doll? On reading the Artist's Statement, I'm not sure what the answer to that is!
Other questions that I asked was does the Doll represent the air-brushed idealized female form, the source of great unhappiness in modern society, and how is this different to a child that has a pretend tea-party with all her toys? Surely this is just the next step, the adult form, of an imaginary friend?
The photographer seems to claim that the Doll took on a consumerist personality of her own, without a thought for the waste she was creating - is this not Simmons projecting her own feelings on the subject through the Doll? The masses of jewellery and shoes in a lot of people's life, the sugar obesity epidemic, there are some strong themes running through this series.
Rineke Dijkstra - Almerisa
This portfolio didn't work for me. For a start it's about the survival of a refugee and successful integration into a new society, as the subject moves through her life cycle. I'm not clear how this relates to the theme of consumption, unless it's about consumption being a feature of western life as a whole....and unfortunately I don't find the photography here very interesting either. Sorry.
Michael Schmidt - Lebensmittel (Winner - Laureate)
An impressive collection of very simple images representing the food processing chain, from source to final article. They look good presented as a tableau, and you get the idea of mass and quantity, and he challenges the thinking by simplifying and perhaps demystifying the photographic process, but sadly I didn't enjoy this portfolio as much as some of the others.
Boris Mikhailov - Tea, Coffee & Cappuccio
Interesting. The small format makes you look hard, but being long-sighted, this was a challenge! Obvious themes of globalization and Starbucksisation! Cheap and plentiful commodities - everything can be bought these days. BUT - if I submitted photographs for an OCA assignment that had blown out skies, the wrong white balance, wonky angles (beyond dramatic diagonal shots) they'd be sent back!! I liked the inclusion of the cheap plastic tartan laundry bags though - we have so much stuff you need loads of luggage to store it in!
Mishka Henner - Beef and Oil
Well, firstly - WOW! But secondly - who is the photographer? If these are satellite photos, surely Henner is not the artist? Or have I missed something? But - visually stunning and almost abstract representations of landscapes scarred by the human desire for two commodities, beef and oil. But this series is not just about human consumption, it's also about cattle consumption - the feeders where the spend the last period of their lives fattening up (and presumably the moral/ethical arguments abou that).
In Kern River Oil Field, you see amazing detail. And the more you look, the more you see. From a distance a stunning abstract, but up close a complex web of intricate details. In Cornado Feeders, again a beautiful abstract and an object (not sure what it is) that resembles a cattle heart?
Allan Sekula - Fish Story
I don't know if I liked this series or not. Interesting - yes, visually pleasing - not sure, does it work as a portfolio about consumption - yes definitely - there are some very strong themes in this portfolio with the container ships and salvage yards. I did like B4 - Koreatown, but more as a stand alone, for the drama, mood, angles, and atmosphere!
All in all - a very interesting exhibition and experience. The clear winner for me is Hong Hao, which has got me thinking about undertaking a similar exercise - maybe artifacts collected on a journey, for example, or all the items you use in just one day?
This cycle however (the fifth) wasn't as striking or impactful overall as the fourth. I found elements of it amazing (which I will elaborate on further down) but also there were sections that I didn't feel were as compelling including the Laureate, Michael Schmidt, who also sadly died yesterday.
My notes below set out the order in which I viewed the exhibition.
Adam Bartos - Yard Sale
This is the first portfolio you see as you walk through the door, and I could really relate to this. Uncomplicated context - quite simply a visual representation of clutter and stuff that can be accumulated and then has to be got rid of. It reminded me of having car boot sales when moving house! One picture I really liked was "Ernie & Mattress"; this has echoes of the end of a childhood with the familiar face of the Sesame Street character and the small single mattress, plus a few other toys. For me this image really conveys the idea of ongoing consumption through the passage of life.
 |
| Ernie & Mattress (c) Adam Bartos |
I loved this - it was visually striking and unconventional in approach. To paraphrase the artist's statement, Hao scanned everyday objects over a period of 12 years to create a collection of artifacts that he then assembled into huge single images. What is immediately striking about these images is that they are 2D - you see a flat surface. It's as if they were laid out on a glass coffee table and photographed from underneath. What's also intriguing, is how he decided the composition during the assemblage process?
 |
Book – Keeping of 2007 A (c) Hong Hao |
In contrast, "My Things No 1" is very chaotic. You see rubbish, decaying food, the underside of fridge magnets - waste in other words. And what is the inclusion of the hand about?
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| My Things No 1 (c) Hong Hao |
The third image on display from this portfolio, "Bottom No 4", is very "beige"..... It shows the underside of everyday technology objects and packaging. Not colourful, nor geometic, still ordered, does it have less impact? Is this supposed to represent items we don't even notice?
 |
| Bottom No 4 (c) Hong Hao |
Motoyuki Daifu - Project Family
This collection was very surprising! This is not how I imagine life in Japan! This portfolio shows chaos, lack of order, lack of discipline, extreme clutter, poor kitchen hygiene - all the opposites to my perception of Japanese culture. Of course space is an issue in Japan, but even so, this is more reflective of how students live, not families! In this portfolio, there is a polar relationship between the tiny space this family occupies, and the amount of stuff they have: two extremes that have collided. Very interesting!
Abraham Oghobase - Untitled
This portfolio depicts guerrilla classifieds - brought about by the lack of space for advertising (due to every available surface being taken). The photographer interacts with the pictures to demonstrate their lack of effectiveness. Interesting, but not sure I like it. I haven't been to Nigeria, but I used to live in Senegal and space is a problem there. But if I had wanted to make a statement about consumption, I would have highlighted the rubbish tips (and children playing/animals feeding on them), people living in makeshift housing, chaotic and disordered architecture, the nouveau riche elements, rubbish in the streets, people living in the streets (antithesis of consumption?), and the enormous food supplies (surprising in a country with little resources).
Juan Fernando Herran - Escalas
There were some interesting images in this portfolio and particularly when compared with Project Family above. This series is about people living underground or on the margins of society - due to the lack of space. Shot in Medellin in Colombia, you really get a sense of this lack of space. I was particularly interested in the image "Own Place". Immediately struck by the clarity and light of the image (which you would not expect for an underground shot?) and the converging lines composition which is very effective, this is just amazing that someone should live here, with so little, and also keep it so clean - look at the brush in the bottom left-hand corner!! This is the complete opposite to the Japanese family above, who perhaps were not financially compromised and who had too much stuff for their space and were not able to keep their space clean. Also looking at this image, you see gaps in the roof - what happens when it rains? Interestingly, the starburst effect of the light, is almost an import of the sun (assume narrow aperture?) - it's a proper underground world.
 |
| Own Place (c) Juan Fenando Herran |
When I saw this at the exhibition, I didn't know if Simmons was male or female, which raised a lot of obvious questions in my head.....I have since looked at the Prix Pictet website and know that she is female. This is a surprising portfolio in many ways, and apart from the obvious quality of the photography, which is stunning, and that it made me remember the TAOP Assignment 4 exercise, I really enjoyed the challenges and intellectual arguments it raises. The questions I initially asked, were about gender and sexual orientation. I got the bit about loneliness in a crowded society (like social media?) - not having real relationships, but I wanted to know if the photographer had done this as an artistic experiment, or was he/she living vicariously through the doll? On reading the Artist's Statement, I'm not sure what the answer to that is!
Other questions that I asked was does the Doll represent the air-brushed idealized female form, the source of great unhappiness in modern society, and how is this different to a child that has a pretend tea-party with all her toys? Surely this is just the next step, the adult form, of an imaginary friend?
The photographer seems to claim that the Doll took on a consumerist personality of her own, without a thought for the waste she was creating - is this not Simmons projecting her own feelings on the subject through the Doll? The masses of jewellery and shoes in a lot of people's life, the sugar obesity epidemic, there are some strong themes running through this series.
Rineke Dijkstra - Almerisa
This portfolio didn't work for me. For a start it's about the survival of a refugee and successful integration into a new society, as the subject moves through her life cycle. I'm not clear how this relates to the theme of consumption, unless it's about consumption being a feature of western life as a whole....and unfortunately I don't find the photography here very interesting either. Sorry.
Michael Schmidt - Lebensmittel (Winner - Laureate)
An impressive collection of very simple images representing the food processing chain, from source to final article. They look good presented as a tableau, and you get the idea of mass and quantity, and he challenges the thinking by simplifying and perhaps demystifying the photographic process, but sadly I didn't enjoy this portfolio as much as some of the others.
Boris Mikhailov - Tea, Coffee & Cappuccio
Interesting. The small format makes you look hard, but being long-sighted, this was a challenge! Obvious themes of globalization and Starbucksisation! Cheap and plentiful commodities - everything can be bought these days. BUT - if I submitted photographs for an OCA assignment that had blown out skies, the wrong white balance, wonky angles (beyond dramatic diagonal shots) they'd be sent back!! I liked the inclusion of the cheap plastic tartan laundry bags though - we have so much stuff you need loads of luggage to store it in!
Mishka Henner - Beef and Oil
Well, firstly - WOW! But secondly - who is the photographer? If these are satellite photos, surely Henner is not the artist? Or have I missed something? But - visually stunning and almost abstract representations of landscapes scarred by the human desire for two commodities, beef and oil. But this series is not just about human consumption, it's also about cattle consumption - the feeders where the spend the last period of their lives fattening up (and presumably the moral/ethical arguments abou that).
In Kern River Oil Field, you see amazing detail. And the more you look, the more you see. From a distance a stunning abstract, but up close a complex web of intricate details. In Cornado Feeders, again a beautiful abstract and an object (not sure what it is) that resembles a cattle heart?
Allan Sekula - Fish Story
I don't know if I liked this series or not. Interesting - yes, visually pleasing - not sure, does it work as a portfolio about consumption - yes definitely - there are some very strong themes in this portfolio with the container ships and salvage yards. I did like B4 - Koreatown, but more as a stand alone, for the drama, mood, angles, and atmosphere!
 |
| B4 - Koreatown (c) Allan Sekula |
All in all - a very interesting exhibition and experience. The clear winner for me is Hong Hao, which has got me thinking about undertaking a similar exercise - maybe artifacts collected on a journey, for example, or all the items you use in just one day?
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