Notebook/Sketchbook – A5 & Exercises

Assignment 5 Notebook

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Notes/Sketchbook EYV

Note to Assessors

This PDF document are my notes made along my journey with EYV and are handwritten. I apologise for the handwriting but please bear in mind that I have difficulty with fine motor skills and my writing can be difficult to read.

I will divided each section under each assignment but these are my notes, thoughts, ideas and sketches for all assignments and exercises. I also make notes using audio note taker via a dictaphone and I have not worked out how to convert those notes to a durable format in which they can be read, so these are not my complete notes but form a percentage of them.

My tutor advised me to add them digitally to my blog.

EYV Notebook/Sketch and Ideas

Assignment 1 – Formative Feedback

Overall Comments

Overall I thought this was an encouraging start to the course. You have done well here to link everything together not only geographically but also thematically. The pictures showed a variety of interests, each of which could be mined for further study at a later date. I thought your airfield picture was a particularly interesting use of colour and could be an area worth exploring more in the future. My feedback below is mainly a series a rhetorical questions that might help you think about how to structure your working method for later modules. Photography is a form of communication so try to think about what you are trying to say.

I agree that the chosen location was an interesting subject and I fully intend to revisit it during the course. I will be mindful of what my images are trying to project and perhaps more crictical when I take them.

Assessment potential

Assignment 1

You may want to get credit for your hard work and achievements with the OCA by formally submitting your work for assessment at the end of the module. More and more people are taking the idea of lifelong learning seriously by submitting their work for assessment but it is entirely up to you. We are just as keen to support you whether you study for pleasure or to gain qualifications. Please consider whether you want to put your work forward for assessment and let me know your decision when you submit Assignment 2. I can then give you feedback on how well your work meets the assessment requirements.

Feedback on assignment

Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity

Generally the pictures were technically acceptable so you don’t have too much work to do in that area. Some of the reflections helped tell the viewer that this was a museum whilst others were more of a distraction so you will need to watch for that in future. I felt your strongest pictures were the landscape pictures made outside, but the indoor photographs added some very useful context for your series.

I would suggest caution with the excessively wide angle, almost fish eye, lens. Whilst it almost works with the Spitfire (?) image, you can see on your contact sheet that it causes problems in other scenes such as the notice board.

Looking at the contact sheet, I would suggest you try to shoot more. If these are all the pictures you made then try to make more exposures at each scene, experimenting with different settings and lenses/zooms. The entrance hall picture could for instance have benefitted from a slightly different angle. Shooting more at the scene would have given you options when it came to editing.

Whilst it is absolutely fine in this assignment to lay the pictures out however you choose, try to think about how your pictures link together as you complete later assignments. Does it make sense to then switch between colour and black and white? Do the aspect ratios of the different pictures need to be the same throughout a series? How would you display your pictures to a viewer -on a wall, on a website or in a book? What is the most appropriate option for the particular body of work you are making?

I can see that mixing orientation, colour and sizing can be distracting for the viewer and it would’ve less distracting within the panel of work if I’d have placed the work consistently with colour, size and how I inteneded the work to be displayed.

I will re-visit the images in Lightroom and make a decision as to which works best colour or black and white. My gut feeling is colour primarily because some landscape images were taken at low light and I still want to convey that and think it will be lost in monochrome.

Research

Context, reflective thinking, critical thinking, analysis

So far your research appears thorough. It was especially good to see you referencing your reading within the assignment text. Your thoughts on artists such as Cornish and Hunter will form a good start for your learning log or blog. I have added the names of some more artists who you might find interesting to the suggested reading section below.

Learning Log

Context, reflective thinking, critical thinking, analysis

I will comment on the learning log when submitted in an upcoming exercise.

Suggested reading/viewing Context

As you mention an interest in landscape photography I have compiled a list of artists you mayor may not be aware of below who, at least in part, work with landscape imagery. Each works in a slightly different way and their methods of approaching the landscape are integral to their practices.

Fay Godwin -In our Time special- https://www.youtube.com/watch?v=4JE8144Ak70 Jem Southam -The Painters Pool- http://www.vam.ac.uk/content/articles/I/landscape­photogra phy-jem-southa m/

Todd Hido -A Road Divided (see the ‘landscapes’ section of his website for an idea of his approach – http://www.toddhido.com/)

Liz Nicol-The Rubber Band Project – http://www.liznicol.co.uk/The-Rubber-Band­Project-1997

Jo Spence -Remodeling Photo History http://www.jospence.org/remodellingphotohistory/rphthumbs.html Awoiska van der Molen – Sequester-

http://www.awoiska.nl/pages/page. php ?page=book

Keith Arnatt -A.O.N.B. http://www.tate.org.uk/art/artworks/arnatt-aonb-area-of­outsta ndi ng-natu ra l-beauty-t13129

Misha de Ridder -Dune – http://www.lavalette.com/shop/dune-misha-de-ridder/

Pointers for the next assignment / assessment

  • Try to shoot more pictures at each site. What happens when you frame the scene differently? Or change the aperture and shutter speed?
  • Think about how you present your final photographs -how do you intend a viewer to look at them?

Overall for my first assignment I am pleased with the comments and constructive critique and take on board the pointers for the next assignment.

Assignment 5 – Formative Feedback

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 Overall Comments 

Well done, you have achieved what you set out to achieve and produced a sensitive, considered body of work dealing with a difficult subject. I hope you got a lot out of the module, your photography has certainly progressed and you appear to be finding your personal photographic voice. 

Feedback on assignment 

Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity 

Below are the key points from our discussion: 

  • Generally, I thought the project went well. 
  • Normally I would struggle a little if a project switch formats (aspect ratios of the images) but I don’t find it overly jarring in this instance. It is something to consider in the future though. 
  • Regarding the book, I was very pleased to see you produce the maquette. If you notice, the pages are difficult to turn. This is because of the thickness of the paper, compounded by your gluing together of prints. If you were to make additional or later books, consider a thinner double-sided paper stock. Something around 200 or even less is ideal. I spoke with a professional book binder yesterday as it happens and they recommended 130-140gsm, but this is almost impossible to find in photo quality papers you can print at home. Something for you to consider in the future. 
  • We spoke about aspect ratios – I wonder if it will become multiple projects ala Alicia Bruce’s Menie work 

I would certainly consider continuing this project alongside my BA. The reason for doing this is because the changes that have taken place since photographing each location in that flowers have been added along with ballons to mark the anniversary of at least one fatality. I would also be interested in documenting other points not just along this road but others locally with a view to exhbiting them in the public domain. 

Learning Log 

Context, reflective thinking, critical thinking, analysis 

We went through the blog on the call and looked at any specific issues Scott raised (an exercise in part 1 had caused a littler confusion but the outcome was fine and the learning points had been digested) 

Other than this the learning log and wider blog were fine. The presentation was easy to navigate and I couldn’t see anything missing. You might like to include documentation of your physical sketchbook and of the book layout ideas you have experimented with for assignment 4 (especially now that the assignment 5 book has been made). 

Suggested reading/viewing 

Context 

Alicia Bruce – Menie: TRUMPED https://aliciabruce.co.uk/menie/ 

John Darwell – Just generally I think you will get a lot out of his wider methodology about photography http://johndarwell.com/ 

Keith Arnatt – In our discussion you were talking about the tactile nature of some of the sites photographed, especially the small details and it bought to mind some of Keith Arnatt’s later works, especially Miss Grace’s Lane http://www.keitharnatt.com/works/w53.html, Howler’s Hill http://www.keitharnatt.com/works/w54.html and Pictures from a Rubbish Tip http://www.keitharnatt.com/works/w55.html. You could do worse than looking through the rest of his work as well as I still place him as years, if not decades, ahead of his time. 

Pointers for assessment 

  • Remember to signpost everything so that the assessors can quickly and easily locate the work. The blog is fine in this respect so it’s just a case of making sure the prints are well captioned and introduced. 
  • Print out each assignment and have the supporting work on the blog. Alongside the books, the prints should be approximately A4 (very generally) and have enough white border to allow them to be handled easily. I suggest a single sheet of A4 dividing each assignment with a brief synopsis in.troducing each series (50-100 words, maybe as much as 250 if really needed) 
  • Remember that whilst the grade isn’t terribly important in the overall scheme of things, the feedback that summative comes along with your grade is useful to help identify areas in which you can tighten up your approach to the next module. 

SSEYV5

Assignment 4 – Formative Feedback

I will respond to the feeback under each section with my comments and reflection.

Overall Comments 

Overall, I felt this was a well-conceived and executed project. 

Assessment potential 

Assignment 4 Assessment potential 

I understand your aim is to go for the Photography Degree and that you plan to submit your work for assessment at the end of this course. From the work you have shown in this assignment, providing you commit yourself to the course, I believe you have the potential to pass at assessment. In order to meet all the assessment criteria, there are certain areas you will need to focus on, which I will outline in my feedback. 

Feedback on assignment 

Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity 

Below are a few key points from before our tutorial: 

 Overall Comments 

Overall, I felt this was a well-conceived and executed project. 

Assessment potential 

Assignment 4 Assessment potential 

I understand your aim is to go for the Photography Degree and that you plan to submit your work for assessment at the end of this course. From the work you have shown in this assignment, providing you commit yourself to the course, I believe you have the potential to pass at assessment. In order to meet all the assessment criteria, there are certain areas you will need to focus on, which I will outline in my feedback. 

Feedback on assignment 

Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity 

Below are a few key points from before our tutorial: 

• The photographs themselves were all well seen and presented.
• There was nothing for me to add in terms of technical considerations.
• I was interested in the square cropping and the text.
• The square crop aesthetically works so I was wondering how you came to the decision? (Tied the work together. Tested other options and the message was lost)
I wanted to maintain a square 1:1 crop after experimenting with other crops, which did not work as welll as a square. I felt that the main focus was lost at times and to jumble up aspect ratios cause the whole project to jar. 
• The text -how did you decide what text to include with each image? How do you think it adds to the series? (These were explained to have come out of the discussions with the subjects whilst making the photographs)
And now, here are the notes I made during, where we spent quite a bit of time walking through possible approaches for assignment 5:
• You are interested in an almost forensic approach as a contrast to traditional ideas around photojournalism.
• Your idea was based around documenting a local road, or more specifically sites along that road where incidents have occurred.
• What I suggested, following your description of your plan, was to make a series of photographs along the road in a consistent style. Some of these images would then include sites of known incidents and others may not. You could allude to this through the inclusion of captions for those sites where something has happened.
• This offers two interesting benefits. First, you don’t know (and can never know) of every single thing that has ever occurred along that stretch of land traced by the road, so your captions can only remark on those events for which you have identified evidence. Second, it allows the work to hint that there is also the possibility of future events at other places on the road – time continues to pass and life (and death) continue after the images are made.
• You could then consider how the work would be presented, I would suggest either a book (which is fairly straightforward to hand bind yourself) or a series of exhibition prints. I have included a link to a basic book on bookbinding that I have used in the past. The easiest method to my mind is either a simple fold and saddle stitch or to use stab binding to join a selection of prints. A concertina book might also be an option if you can print a long enough sheet/roll.
• For folding, use a bone folder to score pages and either a ‘Scor-pal’ or a groove in any piece of flat wood.
Suggested reading/viewing
Context
These are the artists and writer I made a note of during our conversion to send over. Mark Klett – Repeat photography (not specifically relevant now but I think you will get a lot out of it). See https://www.thirdview.org Alan Sekula -The Body and the Archive – (If the UCA library doesn’t get you access let me know and I’ll send a copy over, or else pick up a copy of Bolton, R (ed.) 1992. The Contest of Meaning. Cambridge: MIT Press that has this and some other useful essays (including Krauss’s discursive places paper that is widely regarded) https://www.jstor.org/stable/pdf/778312.pdf Joel Sternfeld -On this Site – should be self explanatory – http://www.berk-
edu.com/RESEARCH/joelSternfeld/
Book Binding These are the three titles I use, of which I find the Lupton title the most useful. GOLDEN, A. 2010. Making Handmade Books, New York, Lark.
LUPTON, E. (ed.) 2008. Indie Publishing: How to Design and Produce Your Own Book, New York: Princeton Architectural Press.
SMITH, E. K. 2007. How to Make Books, New York, Pottercraft. Please inform me of how you would like your feedback for the next assignment: written or video/audio. I also mentioned that I don’t need to see the final book in the flesh so to speak, images will be fine. If you are pushed for time feel free to submit the images as you have this time, and add an outline of how you will turn the work into a book before assessment.
Reflection
I am very pleased with the outcome of Assignment 4 for several reasons. Firstly, the idea itself and working with complete strangers and getting to know them enough to direct my photograph, which reflected them and someting of their personalities.
Taking my time to interview them led to the final comments on each photograph but perhaps if I were to repeat this I would ask them for a word or two to sum up their personality/disability. I would be intrigued by the repsonse.
I am not concerned by the choice of cropping and I think it works well in this format and particularly as I intended these photographs to be hung on a wall. Although my tutor and I have since discussed during Assignment 5 tutorial the possibility of making these into a book. If this were the case and I will consider creating a mock-up of a book the cropping would work in an 8×8 book.
I boought a copy of Lupton’s Indie Publishing and found it an invaluable resource for Assingment 5.

Assignment 5 – Research

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During my research I read a very interesting article a Royal Photographic Society (RPS) magazine. (‘Mostly Left turns’, 2017).  The article Mostly Left Turns documents the locations of all cycling fatalities involving motor-vehicles in London during 2015. Eight cyclists form the series of photographs and their last movements and all, but one was the result of lorries turning left, a known problem with a blind spot. (Graeme Weston — Photojournalist – Mostly left turns, no date)

Weston used the light trails to and empty roads to show the direction of travel and turned the light off at the point of the collision during the long exposure to leave an abrupt stop. I also felt that the angle and height was from a drivers’ perspective not necessarily a lorry or taller vehicle. Perhaps this was something I needed to consider.

I attempted to take photographs from the same perspectives’ and viewpoints’ much in the same way Mark Klett approached the Third View, Re-photographic Survey Project. Klett, revisted locations that had been photographed in the late 19C and using calculations was able to recreate the viewpoint.

During the rest of the assignments I have been adding to my research. I found a website called Ghostbikes and one example locally near Deal, Kent placed on the side of the road. Daniel Squire was killed in 2013 aged 18. What I was struck by in the news article was the comment “the area has become a shrine, with floral tributes and solar lights, laid by family members and some of Daniel’s many friends from Deal and Dover, where he went to school and played football.”

Daniel’s father said, “The family is now having a plaque made for the bike with the message “Cyclist Killed Here 7/9/2013”.

Mr Squire said the area is not allowed to become a dedicated memorial, and it is therefore not permitted for them to inscribe that the bike has been installed in Daniel’s memory.”(‘Ghost bike’ shrine to cyclist killed in crash, 2014)

Grief is an emotion that can last a lifetime and as I looked around the local roads I saw more and more evidence of shrines that had been left by the roadside. At this point it dawned on me this was my assignment 5 project, Fatal Consequences and to use my experience how to document each fatal collision site.

The next part of my research was quite easy using a website called Crashmap. Although I could not access all the data I was able to cross-reference with news articles. I found five significant locations consisting of two cyclists, two cars and one motorcyclist.

I looked Joel Sternfeld’s work as part of the research as suggested by my tutor. I found at least two examples similar to my project where either a shrine had been left or a plain ordinary building both with history of a violent past, but without the knowledge of what had taken place just looked like any other building. In a similar way each of the locations along the A2 may or may not have had serious accidents or none at all. (Press & Commentary, no date)

I consulted with David (my tutor) about my idea and apprehension about producing/making a book as I have never tried to this. He suggested reading Indie Publishing: How to Design and Produce Your Own Book (Design Brief). (Lupton and Maryland Institute, College of Art, 2008).

I found some helpful YouTube videos about Japanese Bookbinding. My tutor and I agreed if I was struggling for time to complete this assignment I could photograph my work and he would assess it on that basis. I managed to make two mock-up copies to ensure that the binding and page layout was correct before completing the final printed photobook.

Biblography

Ghostbikes(2014) Ghostbikes. Available at: http://www.http://ghostbikes.org(Accessed: 10 July 2018).

‘Ghost bike’ shrine to cyclist killed in crash(2014) Kent Online. Available at: http://www.kentonline.co.uk/deal/news/ghost-bike-shrine-to-cyclist-26899/(Accessed: 10 July 2018).

‘Mostly Left turns’ (2017), 157(1).

Press & Commentary(no date) Joel Sternfeld. Available at: https://www.joelsternfeld.net/press/(Accessed: 29 July 2018).

Rephotographic Survey Project(no date) MARK KLETT. Available at: http://www.markklettphotography.com/rephotographic-survey-project/(Accessed: 17 July 2018).

Sea Lemon (no date) DIY Japanese Bookbinding Tutorial | 4-Hole | Sea Lemon. Available at: https://www.youtube.com/watch?v=j-r6c_trSxY(Accessed: 17 July 2018).