Assignment 6: Pre-Assessment Review

As this ‘assignment’ is comprised of reworking Assignments 1 to 5 and reviewing the overall submission for assessment with my tutor, the substantive output is presented under the categories of those five assignments.

However, it is useful to capture the inputs, processes and outputs of the rework phase, and to take this opportunity to make some observations about the overall learning journey, and the similarities and differences across the series of assignments.

Tutor feedback | Response to feedback


Assignment 1: Fun in the Sun

misc

This was a fairly standard ‘fly on the wall’ documentary photography project about the local pub, and I hadn’t tried to do anything particularly experimental in the original version or the rework.

This is the assignment that underwent the most significant re-edit. The main feedback from my tutor was that the image selection wasn’t the optimal version for getting across the message I wanted to (about the wide variety of community activities the pub organises in order to keep its customers in a declining market). He suggested replacing over half of the images with alternatives from the contact sheet.

In the rework I did swap out six out of the ten images, though a slightly different six than the tutor suggested – I took the general advice on narrative flow and honing the message and applied that to a re-edit. I’m happier with the reworked version, it has a little more humour and communicates the character (and characters) of the place better than the original.

I added a short sentence to the introduction reflecting on the assignment and why I’d reworked what I did from the vantage point of the end of the course.


Assignment 2: A Hole in the World

of livelihood

This was a more expressive assignment and less traditional documentary brief where I was asked to produce eight single images on a shared theme – I used loss.

I didn’t change any of the images, though the sequence was tweaked slightly on tutor advice, in terms of the visual flow.

The main challenge in rework was to better address the inclusion of the one image that was discordant with the rest, from a visual style and creative approach point of view – the ‘Bowie’ image below.

of someone you think you know

I had included an explanation of the rationale in the notes but it was perhaps a little buried, or at least detached out of context from the image itself. On other assignments I’d included a brief comment per image as part of an ‘Additional notes’ section, and so I adopted the same format for the reworked assignment here.

Other than that the assignment was unchanged.


Assignment 3: Fracktivism

Fracktivism-4

This photo essay on the growth of the local anti-fracking movement has some aspects in common with Assignment 1 in as much as it is pretty straightforward ‘traditional’ documentary style (whereas I see Assignments 2 and 5 following a more expressive and conceptual approach). It is very much in the reportage tradition of photo essays, and I intentionally adopted this approach as I was still trying out different ways of working as I progressed through the course.

However, from the vantage point of the end of the course, this is the least inventive (and therefore to me, least interesting) of my assignments, and it doesn’t really strike me as being an example of my developing personal voice. My tutor suggested I make this clear as part of the submission so I added words to this effect in the introduction to the reworked version.

In rework I considered going back to the contact sheet and retooling the entire thing in a more visually innovative way – but ultimately decided against this as it felt like it wouldn’t be true to the story; it would have been somewhat contrived to try to reengineer the narrative in a different visual style from the photos that I’d taken with a straight reportage project in mind (and the transient nature of the subject matter makes reshooting impossible).

So in the end the selection and sequence of photographs remained the same. The only significant change I made was the cover of the book dummy version. In the original, the cover image was also the first inside image, and my tutor quite rightly pointed out that such a sequence came across as unnecessarily repetitive.

On the tutor’s advice I am not planning to get an actual hardback book produced (as I have for a previous OCA submission) but rather producing a paper dummy. I may change my mind depending on the quality of the dummy I can produce!


Assignment 4: The Unphotographable

essayThe critical review essay originally had a more dry and descriptive title “Comparing the use of metaphor and metonymy in documentary photography” but for the revised version I preferred the more evocative title “The Unphotographable” (a phrase I use in the essay) and moved the previous title to a subtitle.

Some of the changes were visual: I added sub-headings to better demarcate the building blocks of my line of argument, and introduced more example images – in the original version it was over halfway into the essay before I illustrated any of the points I was making. In the final version there is a pair of images on all bar one of the pages. This spacing of images, along with the subheadings, made the essay both more visually interesting and easier to follow.

I also included a few of my own images, something I didn’t necessarily have the confidence to do in the original version but it feels right now, and I had more to choose from having completed Assignment 5.

In terms of the important content – the text itself – there were a few key edits, over and above general wording tweaks throughout.

First of all I changed the introductory examples of metaphor and metonymy to align both around flowers – it made sense to me to demonstrate that a similar subject can be used as symbolism in the two different ways.

Secondly, I added a paragraph about Martha Rosler’s The Bowery in two inadequate descriptive systems (1974-75) as one of the lightbulb moments of working on Assignment 5 was discovering the theory (Edwards 2012: 106) that the two eponymous systems are metaphor and metonym (rather than specifically photographs and text).

Finally, I felt that the conclusion needed a more robust ending. Given that the essay is a comparison of the two forms of signifier and that I’d summarised their respective strengths and weaknesses, I decided to answer the hypothetical question of which I would choose if I had to only ever use one: “In the hypothetical situation of being forced to choose, I choose metaphor.”


Assignment 5: Two Kinds of People?

Middlesbrough 1This assignment is definitely the most experimental and conceptual of all my work on this course (probably the whole degree so far) and the difference between it and the previous assignments might stand out a lot to an assessor.

As for other assignments, my tutor recommended including some words upfront to position this in the frame of the overall body of work / learning experience. I aim to articulate in the new introduction how the work was informed by various things since Assignment 3 – my critical review research, the last three assignments on Gesture & Meaning, a lot of critical thinking on the nature of authorship in documentary photography – and, to be honest, the passage of several months while I worked on other things.

My biggest concern in terms of people understanding the whole concept (highlighting the absurdity of extreme generalisation) was that viewers might miss the point and think that I am simply misrepresenting the places in question – I needed to make sure that there was sufficient signposting that the message is intended to be subversive, that I am actually asking the viewer to ‘disagree’ with the simplified stereotyping I have presented.

There was an important text tweak recommended by the tutor that I acted on to help minimise this risk: the title was previously “Two Kinds of People”, and he suggested turning the title into a question. This really helps to encourage the viewer not to take the images at face value. I had already added a ‘?’ to the town names in the captions (implying “Is this really what Town X is like?”) and so with hindsight it seems obvious that I should have applied the same approach to the title of the overall series.

There were three specific images that I changed on tutor advice: two photos of existing imagery, a poster and a sign, that I recropped to show more environmental context (to prevent them looking like purely graphical elements in the construct of the pie chart segment); and an image swap-out for a pairing where the intended ‘positive’ image had contradictory connotations, making the interpretation of the image more prone to a negotiated reading.

The final change I made was to add some explanatory notes per town to help illuminate my choices of image and juxtaposition – an assessor may not know, for example, that Middlesbrough was known for its heavy industry, or that Burnley is a former cotton mill town, or that Dewsbury has a high ethnic minority population.


Overall observations

The whole rework exercise was useful in several ways. Most obviously it gave me an opportunity to improve all five of the preceding assignments. It also allowed me to apply knowledge from the latter parts of the course back to the earlier assignments. Last but definitely not least, it really helped me to see the similarities and differences across the assignments, which in turn is really helping me to find my photographic voice.

The most enlightening and fascinating learning I’ve taken from the whole course is the potential of the documentary photographer to exercise authorship. I can draw a line from Assignment 2 (my practice run on intentionally encoding messages in images), through Assignment 4 (the deep dive into the myriad uses of metaphor and metonymy) to Assignment 5 (where I not only applied authorship but made the application of authorship part of the delivered assignment – introducing an element of postmodernism).

In terms of visual style I’m most pleased with the black and white aesthetic of Assignment 2 and the experimental pie chart framing of Assignment 5.

In this light I now find my Assignments 1 and 3 a little quaint in their traditional look and feel! They were however crucial in helping me to find my voice.


Sources

Baker, S. (ed.) (2014) Conflict Time Photography. London: Tate Publishing.

Barthes, R. (1993) Camera Lucida: Reflections on Photography. London: Vintage Classics.

Barthes, R. (1977) Image Music Text. London: Fontana Press.

Bate, D. (2009) Photography: The Key Concepts. London: Bloomsbury.

Hall, S. (2012) This Means This, This Means That: A User’s Guide to Semiotics. London: Laurence King.

Clarke, G. (1997) The Photograph: A Visual and Cultural History. Oxford: Oxford University Press.

Edwards, S (2012). Martha Rosler, The Bowery in two inadequate descriptive systems. London: Afterall

Fink, L. (2014) On Composition and Improvisation. New York: Aperture

Fiske, J. (1982) Introduction to Communication Studies. 2nd edn. London: Routledge

Franklin, S. (2016) The Documentary Impulse. United Kingdom: Phaidon Press.

Grierson, J. (1933) ‘The Documentary Producer’, Cinema Quarterly, 2.

Howarth, S. (ed.) (2006) Singular Images: Essays on Remarkable Photographs. New York: Aperture.

Hurn, D. and Jay, B.(1997) On Being a Photographer. USA: Lenswork

Lubben, K. (ed.) (2014) Magnum Contact Sheets. New York: Thames & Hudson.

Norfolk, S. and Ignatieff, M. (1998) For Most Of It I Have No Words: Genocide, Landscape, Memory. Stockport: Dewi Lewis Publishing.

Ohrn, K. B. (1980) Dorothea Lange and the Documentary Tradition. Baton Rouge: Louisiana State University Press

Pardo, A. and Parr, M (eds.) (2016) Strange and Familiar: Britain as Revealed by International Photographers. London: Prestel.

Parr, M. 2012. The Last Resort. Stockport: Dewi Lewis

Rosler, M. (2004) ‘In, Around and Afterthoughts (on Documentary Photography)’ in Decoys and Disruptions: Selected Writings, 1975-2001. Cambridge, MA: MIT Press.

Saussure, F. de (1983) Course in General Linguistics. La Salle, Illinois: Open Court

Soth, A. (2015) Songbook. London: MACK

Shore, S. (2010) The Nature of Photographs: A Primer. 2nd ed. New York: Phaidon Press.

Wells, L. (ed.) (2009) Photography: A Critical Introduction. 4th ed. New York: Routledge.


 

 

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