Summary

Webinar with Colin Pantall about Landscape and Collaboration and looking at our Critical reports. Lots of detail on how to approach looking at landscapes. Landscapes aren’t neutral, they have power.

How do you see landscapes:

• aesthetically
• environmentally
• physically
• politically
• scientifically
• economically
• psychologically

Can you also apply this to other areas and environments? How do you link this into collaboration?

121 with Michelle

Met with Michelle and talked about how to start building the body of work. What themes and narrative are coming out – not entirely sure yet, I need to sort out a few more collaborative sessions to whittle this down.

Look at taking people out of their context and how you build a constructive narrative. Still finding this hard as my habit for the last ten years is to be a passive fly on the wall (although this has changed somewhat recently but not enough to differentiate it from previous work).

How would I change or improve the photos I’ve taken in the last few weeks – different staging / direction / concept?

Look at Tessa Bunney, Jillian Edelstein, Erwin Olaf, Jack Davison.

Portraits

None so far as of time of writing, I am currently waiting for my next subjects to have time. I have been working on the mood boards with subjects for the last two weeks in order to start merging our ideas.

I found a good exercise to help me break down what I want out of each portrait when I work on the concepts with the subject here.

Critical report

Starting to look at how I construct my critical theory essay. Colin gave us a very good structure and examples to follow. I’ve started to build a source list and structure ideas in a separate document and writing a small part every day if possible. I’ll be looking at collaborative portraiture, narrowing it down to photographers who make explicitly and non-explicit collaborative work, then contrasting it with my own work.

To do

• Continue tapping away on critical report
• Continue trying to build an underpinning theory behind this modules project work

Upcoming

• One shoot delayed due to injury – to reschedule
• Two shoots between now and Halloween
• Three shoots date TBC

Reading

ADAMS, Robert. 1996. Why People Photograph: Selected Essays and Reviews by Robert Adams. Aperture Foundation, U.S.

BARRETT, Terry. 2012. Criticizing Photographs: an Introduction to Understanding Images. 5th ed. New York: McGraw-Hill Higher Education.

BOLTON, Richard. 1989. The Contest of Meaning: Critical Histories of Photography. London: M.I.T. Press.

CHUI, Karen. 2016. ‘Constructed Narrative’. Medium [online]. Available at: https://medium.com/@karenchui1111/constructed-narrative-b89747f2ecce [accessed 27 October 2022].

COWAN, Katy. 2019. ‘Dorothea Tanning at Tate Modern, the artist who still created work aged 100.’ Creative Boom [online]. Available at: https://www.creativeboom.com/news/dorothea-tanning/ [accessed 27 October 2022].

DEAN, Stephanie. 2011. ‘”Smile!”: A Polemic on Fine Art Portraiture.’ F-Stop [online]. Available at: https://www.fstopmagazine.com/pastissues/49/Dean.html [accessed 27 October 2022].

DURDEN, Mark and Jane TORMEY. 2020. The Routledge Companion to Photography Theory. Edited by Mark Durden and Jane Tormey. Abingdon, Oxon: Routledge.

EDGAR-HUNT, Robert., John. MARLAND and Steven. RAWLE. 2010. Basics Film-Making 04: The Language of Film. Lausanne: AVA Academia.

EWING, William A. 1987. The Fugitive Gesture : Masterpieces of Dance Photography. London: Thames and Hudson.

FLUSSER, Vilém and Nancy Ann ROTH. 2014. Gestures. Translated by Nancy Ann Roth. Minneapolis, Minnesota: University of Minnesota Press.

FONTCUBERTA, Joan. 2014. Pandora’s Camera : Photogr@phy after Photography. London: Mack.

GREENOUGH, Keith. 2013. ‘August Sander’. Photo-graph [online]. Available at: https://photo-graph.org/2013/01/29/august-sander/ [accessed 27 October 2022].

HEATHFIELD, Adrian. 1998. Shattered Anatomies: Traces of the Body in Performance [no.224 in a Limited Edition of 550]. Bristol: Arnolfini Press.

HOY, Anne H. 1987. Fabrications: Staged, Altered and Appropriated Photographs. New York: Cross River Press.

NELSON, Jeff. ca. 2019. ‘Constructed Narrative’. Art With Nelson [online]. Available at http://artwithnelson.weebly.com/constructed-narrative.html [accessed 27 October 2022].

PALMER, Daniel. 2017. Photography and Collaboration from Conceptual Art to Crowdsourcing. London: Bloomsbury Academic.

PLOWS, Kate. 2022. ‘Photographing Interesting People in Your Community: A Guide to Taking Portraits’. The New York Times 4 January [online]. Available at: https://www.nytimes.com/2022/01/04/learning/lesson-plans/photographing-interesting-people-in-your-community-a-guide-to-taking-portraits.html [accessed 27 October 2022].

SANDER, August, Gunther SANDER and Maureen OBERLI-TURNER. 1973. August Sander: Photographer Extraordinary. London: Thames and Hudson.

SCHULTEN, Katherine. 2022. ‘Interview, Edit and Shape: A Step-by-Step Guide to Participating in Our Profile Contest.’ The New York Times 4 January. Available at: https://www.nytimes.com/2022/01/04/learning/interview-edit-and-shape-a-step-by-step-guide-to-participating-in-our-profile-contest.html [accessed 27 October 2022].

SHAWCROSS, Nancy M. 1997. Roland Barthes on Photography: the Critical Tradition in Perspective / Nancy M Shawcross. Gainesville: University Press of Florida.

WELLS, Liz. 1996. Photography: a Critical Introduction. London: Routledge.

WELLS, Liz. 2019. The Photography Reader: History and Theory. Second edition. Edited by Liz Wells. London: Routledge.