The parent category for coursework.
Make a list of some aspects of your personality that make you unique.● Start taking a few pictures that could begin to express this.● How could you develop this into a body of work? I think it is quite difficult … Continue reading Exercise 3.2 – Your personality (P.80)
For this exercise we are asked to present a series of five images that illustrate examples of the gazes mentioned in the course folder. The definitions that feature in the course notes are set out below: the spectator’s gaze – … Continue reading Exercise 3.4 – The gaze (P.85)
For this exercise I have to reflect on how marginalised or under-represented people or groups in society can be badly or unhelpfully portratyed and whether being an insider might help combat this. Marginalisation can be defined as: Marginalisation – sometimes … Continue reading Exercise 3.3 – Reflecting (P.80)
The objective for this exercise was to shoot a series of three images of different people, either indoors or outdoors, using the same background. Having opted to shoot outside I struggled to find a background that I thought was interesting … Continue reading Exercise 2.4: Same background, different model (P.70)
For this exercise I have to select ten images from my archive and separate them into two sets, one that can be thought of as windows, the other as mirrors. These are the definitions used by John Szarkowski in the title of the 1978 exhibition he curated at the Metropolitan Museum of Art (MoMA) in New York. The full title of the exhibition was ‘Mirrors and Windows: American Photography since 1960’ (Marien, 2014). The press release from 1978 states MIRRORS AND WINDOWS has been organised around Szarkowski’s thesis that such personal vision take one of two forms. In metaphorical terms, … Continue reading Exercise 3.1 – Mirrors and windows (P.74)
Having thought about my second shortlist of eight images I have decided to discard the following three images. I have decided to discard this image as the man’s eyes are not visible. In this image the burnt out high-lights on … Continue reading Exercise 2.2 – Covert (P.64)
Closely consider the work of the practitioners discussed above, then try to shoot a series of five portraits of subjects who are unaware of the fact they are being photographed. The five photographers mentioned in the introduction to this to exercise, Walker Evans, Philip-Lorca diCorza, Lukas Kuzma, Martin Parr and Tom Wood; all adopted different approaches to capture covert images. Evans and diCorza’s approaches were very technical with hidden cameras and remote shutter release. Tom Wood adopted an almost polar opposite approach of hiding in plain sight; by regularly attending the same venue and giving prints to the people he … Continue reading Exercise 2.2- Covert (P.64)
Look through your own family archive and try to discover a series of portraits (four or five) that have existed within this archive, but have never been placed together before. The portraits can contain individuals or even couples; they may span generations, or just be of the same person throughout the years (chronotype). Whichever way you wish to tackle this exercise, there must be a reason or justification for your choices. What message are you trying to get across about these portraits? The four photographs I have chosen are all of my maternal grandfather and span a period of roughly … Continue reading Exercise 1.4 – Archival intervention (P.51)
In response to the work of the artists you’ve read about so far, try to create a photographic portraiture typology which attempts to bring together a collection of types. Think carefully about how you wish to classify these images; don’t … Continue reading Exercise 1.3 – Portrait typology (P.45)
Make a portrait of someone you know, paying very close attention to what is happening in the background of the shot. Be very particular about how you pose the subject and what you choose to include in the photograph. Ideally, … Continue reading Exercise 1.2 – Background as context (p.41)
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