B51: Preparations for Submission

Having decided on the general subject for my final assessment, I now feel that I can begin re-working through my blogs, course work and assignment.

The purpose of this is two fold.  The first as a form of revision, and secondly to make final changes to the work before formal submission. This is especially importatnt for the assessed work, as the tutor reports have some very good point that I have reflected upon.

As I go through the notes I will print out a hard copy and this will be used as a reference book.  There have been times during this course where I went back to exploring your vision.

The final project work will involve hire of a hall, and either hiring a projector or having large prints being made.  I also have to make arrangements for the subjects to be available.  This will take time.  I am considering moving on to the next module while I finalise this one.  I will need to speak to the OCA on this matter.  I will not do this until all that is left is the final project work.

 

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B50: The Difference Between Viewpoint and Perspective.

Summary:

This essay follows the work completed for part 3 and 4 of the OCA modules, and after attending the David Hockney’s exhibition at Tate Britten.

What became apparent was the OCA material discussed the concept of placing one self into a portrait, followed by seeking to understand the meaning of a photograph.  Both being a form a viewpoint. While Hockney’s exhibition, explored the concepts of perspective, a different proposition from the ones outlined in the OCA material.  Therefore, worthy of further investigation.

The conclusion indicates that having a different perspective of a photographic subject, this alone is insufficient.  The perspective ought to be aligned with the subject for it to makes sense, as the perspective forms part of the photographic narrative.  This leads to the conclusion that when the perspective is unclear, the narrative becomes confusing.

 

The detail are found in: C37: The Difference Between Viewpoint and Perspective.

B49_Recalibrating My Thoughts:

I have had to take a number of weeks off, not that I had lost interest, but I had a set back in motivation coupled with work commitments meant that photography took a back seat.

On reflection there were a number of causal reasons for not working,  and I list them out with a view of making the appropriate corrections going forward.

First Issue, Assignment 5.

The prospects of working through assignment 5 has come as a challenge.

I have constructed a number of ideas, which I need to write up about, however, the whole challenge seems enormous.  I feel that at time this ideas are superficial and are not substantial, other times I consider the basic concept reasonable.  I should talk to my tutor about this, or at least email him.  And yet I feel that I should be able to deal with this by my self.  The OCA have presented the material, and have set the question.  What I need to do is to respond, and stop finding reasons why I am not moving the problem forward.

Second Issue, The Tutor:

My tutor written responses have been very good, they are challenging, and I appreciate the work that has gone into them.  However, I feel that I have a communication issue with my tutor, and I see that the tutor interface problem is my  problem to deal with.  I don’t think that I have managed his or my time well.

I needed to have  a face to face with him, to establish human contact and feedback, I have not managed this and this has resulted in negative feelings. The physical mentoring process has been lost.

Looking forward, I tried to ask the OCA what the service level agreements with tutors are, and the response seemed subject to interpretation.  There are no hard and fast rules, this should not have been a surprise to me.

For the next module I will make sure that I explain my expectation with the tutor and why.  I need to move on.

Upside:

From the work that I have generated for the OCA, I have created a photographic narrative, based upon the homeless of Birmingham.  It is my intent to present this book to a person I met while photographing in the area.  He was a volunteer for the Birmingham mission.  The book will be delivered in December.

SEQUENCE 1.jpg

Fig 1 Based up on a poem the Arrow and the Song.

The detail of this work may be found in the following:

C16: #1 The Poem Exercise.

C17: #2 What In the Poem?

C18:#3 The Narrative.

C20:#4 Final Submission. The Arrow and the Song.

It is a reflection of Birmingham’s development and the homeless of Birmingham, following Longfellow’s poem the Arrow and the Song.

SEQUNCE 2.jpg

Fig 2. Based upon two sides to every story.

The detail of the work may be found in: Assignment 1: Two Sides of the Story.

This is reflection of the homeless are at times ignored, even in art galleries.

Additional Comments:

It is now January 19th 2018, I have recommenced work in January and updated my Blog. After having a break, I feel up to the challenge of the OCA.  The lack of human contact has been more serious than I had first thought.  However, the conclusion I came too was this.  I have no doubt that professional photographers in the field have negative thoughts, and perhaps are in need of reassurance, and there will be times when they also in need of support but they  have to get on with the project. So I just have to get on with the project.

I have presented the work on the homeless to the City Mission in Birmingham.  They were very pleased with the work, and have asked if I could mentor an individual at the centre.  I have recently confirmed that I am up to the challenge, we wait and see if my volunteering will be accepted.

Mentoring:

I have had a call back from the City Mission, and we have set 15 Feb for my encounter with an individual who might benefit from sharing thoughts about photography.  I am looking forward to this new experience, and take heart that my work has taken me this far.  I am fearful that my experience in photography is limited, however, I going into this thinking that we can both help each other.

B48: C35 Project 1 Setting the Scene.

Summary:

In de-codifying the principle character from the Scorsese,  (1990), scene,  The Long Take: Goodfellas.  We are able to extract the following information:

What does this scene tell you about the main character?

The principle character is not in construction, as he suggests. He is well known, wealthy, and has power.  He is treated like a film star, people wish to be associated with him.  The staff of the night club will go out of their way to please him.  He is very accustomed to night club life, and getting what he wants.

How does it do this? List the ‘clues’

There are many signifiers throughout the clip, and as the film unfolds, the intensity of the clues increase, like an orchestral crescendo.

We start with a heavy tip to the valet, he enters the club through the service entrance and is acknowledged by the security on the door, he is also acknowledged by the staff in the corridor and the kitchen staff.  A he enters the main club area, the matradee stops what he is doing and sets a table, front of stage, in an already full club.  Guests around wish to show their respects, and wish to be acknowledged by him.

 

The details of which may be found in:

C35: Project 1 Setting the Scene: Exercise GoodFellas.

 

 

 

 

B47: C34 Assignment 4; A Picture is Worth a Thousand words

 

Summary:

This essay outlines the preparation and research undertaken to complete assignment 4; A Picture is Worth a Thousand Words.

The photograph used to respond to the assignment is Lee Friedlander, New York, Route 9w.  The journal tracks the research undertaken on the photographer, the photograph, and the critique; how one should write the essay.

Thought a mind map I define the key elements to be drawn out,  linked to the OCA assessment criteria, and note that on creativity, the important points to bring forth are:

  • How to interpret the photograph.
  • Provide a juxtaposed position.
  • Make comparison with other images.

The research has taken me to the Library of Birmingham serval times, where they hold he book ‘Photographs’, and he printed image can be found; this book is sometimes known as the blue book.  In addition the library holds Peter Galassi reference book: Lee Friedlander.

The research concludes that perspective and how one interprets a photograph is important, and therefore,  it is essential that you be consistent, and take your reader with you in your journey of interpretation.

 

The detail of which may be found in:

C34: Assignment 4, A Picture is Worth a Thousand Words- Journal.

 

B46: C32 Elliot Erwitt

Summary:

This is a review of the work of Elliot Erwitt’s photograph from the perspective of the little dog in the photograph.

The dog discusses the photograph in terms of context with Erwitt, the denoted and connotative messages the image is seeking to impart, as well as commentary on composition.

The essay may be found:  C32: Elliot Erwitt

 

Post comment review:

After posting the essay I read the OCA review of the same photograph.   The results are not to different in the main, however, there is a crucial difference when perspective is considered.

The subject matter, a juxtaposed view between the small and large dog are treated  differently.  The OCA interpret this as underdog and or comical situation.  While the essay treats the small dog as the lead dog.  This is a clear demonstration of  how context can influence how one reads the photograph.

B45:C31 Reading Photograph: The Language.

Summary:

This essay is in preparation to be able to work through part 4 of the OCA course, Reading Photographs.

The work provides a summative review of the importance of developing the objectives and interpretative strategies when critiquing a photograph.  Without these concepts in place, the critique is likely to wander and loose it purpose.  This is based upon the OCA course material and Terry Barrett’s work, Critiquing Photographs.

The application of semiotics is considered as a tool in support of the critique.

A workflow model has been developed to assist critiquing process.

The detail of which may be found in: C31: Reading Photographs: The Language.