This work focuses on two main themes, firstly, the unseen, which means simply things the camera cannot photograph, such as the psychological states, emotions, feelings. Secondly, the text that accompanies each image shows that the unseen can be interpreted in many different ways by different people. These images have been photographed within walking distance of my home during a period when the Covid 19 virus reached pandemic levels and everyone in England was advised to stay at home and only travel if absolutely necessary. This was a difficult time for many people, including myself, so I chose grey days to make my work because to me this portrays a sombre mood.
Green, brown and grey colour theme is evident in all images, as well as nature. People are almost absent in the work, another representation of the lockdown enforcement period where isolation and distancing was encouraged. Each image has strong shapes and form such as image 1 where the tunnel leads the eye to the light at the end, a very literal interpretation can be made and then interpreted into feelings of needing to stay positive during the Covid 19 lockdown period.
The images were captured within the “Square Mile” of my home while out on daily exercise walks during the Covid 19 Lockdown period. It was during these walks that I would often reflect on my feelings and thoughts around this unprecedented time we all found ourselves in. I would see these emotions represented in what some would describe as banal natural surroundings. Each image represents a personal reaction to an emotion or psychological state I felt during what was a difficult and uncertain time for me. My work was inspired by the work of Eugene Smith which I researched and this can be found here
The emotions or psychological states which I personally think are revealed (the unseen) in this body of work are : hope, journey, strength, resilience, growth and restriction.
The wording that accompanies the images gives a “third effect” (John A Walker – Context as a determinant of Photographic Meaning), this contextualization of the image now shows that my reaction to what I see in nature is not necessarily the same as someone else, or simply “everyone is different”. For example, image 5 in my work has been interpreted as “social distancing” by someone else, I saw it as “growth”, which shows that people interpret the unseen in images in different ways. This concept is referred to as the “mental context” or what Ernst Gombrich calls “the beholder’s share” which means that people have differnt relations to the same image according to the different places they occupy in society, such as gender, race, nationality, class, age, education ( (John A Walker – Context as a determinant of Photographic Meaning),
Shallow depth of field has been used in images 4 and 5 to isolate the subject, I kept the background simple and chose the grey and brown colours to support the subject rather than compete.
Image 1 composition was important, the entrance to the tunnel needed to be at the edges of the frame so it gives the impression that there is nowhere to go but through the tunnel. I chose a tunnel that is not particularly attractive because this depicts lockdown life. Lockdown life is becoming a metaphor which people now relate to, which we never did, nether had to before 23rd March 2020.
Image 3 shows the rough texture of the tree from a close up, looking upwards perspective, so composition was important here and up close shows the age of the tree in the bark clearly.
Image 6 shows bears in the window, this was used as a universal symbol across the globe during the lockdown restriction period, it was a symbol of hope similar to the rainbow displayed in homes during this period. These bears to me feel like a typical representation of being restricted and locked in the home.
Lastly image 3 was a common sight for me as I walked near my home during covid and it constantly made me think of the unknown times ahead. I chose an image without blue sky for visual reasons but also for what a blue sky represents, which is often happiness. I composed the people in the frame as distant and with no connection to me to represent self isolation and lack of human contact during this time.
Start by doing some reflecting in your learning log. What kinds of subjects might be seen as unphotographable? How might you go about portraying them using Photography?
List a few examples of things you’re experiencing now or have recently been thinking about. This doesn’t have to be too in-depth or revealing, but it can be if you want. Equally, it might be something as apparently trivial as how you’re going to fit everything into your busy day.
At first you may come up with literal examples, but the more you think about them the more those ideas will develop into specific and more original ones. Make a list of at least seven ideas. Try and keep to things you have a personal interest in or curiosity about.
Keep a notebook with you at all times and make notes when ideas strike you as interesting. (This is good practice for all stages of the degree and beyond. Ideas books are something to be revisited time and again for ideas and hints for the photographer you’re becoming.)
Now implement one of your ideas. Aim for a tightly edited and visually consistent series of 7–10 photographs.
Initial Response To The Assignment
Feelings appear to be impossible to photograph, or unphotographable upon first impressions, objects are an obvious subject. The senses other than sight, such as taste, smell and feel appear at first to be unphotographable.
I have done a lot of reading about the language of photography to really understand this concept and in order to make work that communicates what you want it to. You have to think about making your image with the subject, form and content in mind. I have also listened to a lecture by Eileen Rafferty on the Language of Photography on YouTube and this has helped me understand this concept too. The subject needs to be clear and other elements in the frame are used to support it. The visual elements need to help you communicate the concept or idea, the symbols or metaphors need to tell the story.
Think of things that are personal to me and that I currently have a special interest in.
How would I photograph the unseen? The use of symbols and metaphors are useful to portray a feeling or an emotion, for example, light is often seen as a symbol of joy or hope, a single flower could mean isolation, a road the leads to somewhere that is hidden or obscure could mean an uncertain future ahead.
As I go about my daily walks I see these symbols in nature that I could used to communicate my current mood and feelings during this period of lockdown. I have a personal interest in nature and the outdoors and I have taken my inspiration from this and developed it into work that communicates my feelings during this challenging lockdown period.
Research / Inspiration
Bryony Cambell’s work “The Dad Project” inspired me with her photographs of the light and how the sunshine gave her some comfort in difficult times. This is not related at all to the main narrative but is related in an “unspoken” way to her feelings at the time.
The sunshine and blue skies in this image, photographed by Bryony Campbell shows how she found comfort in nature, the “unseen” in this photograph comes through with the use of symbols such as sunlight and blue skies that may signify emotions such as hope or comfort.
In Graham Clarke’s book called “The Photograph” on page 33 in the chapter entitled “How to read a photograph” he speaks of the photograph always having the capacity to probe and suggest larger conditions, which underlies the notion of an image’s potential “universal” appeal and international language. He suggests there are photographic themes which mitigate against the argument for a photographic language rooted in the culture as the ideology within which the photograph established its meaning. We can then speak of a language of photography, in which every aspect of the photographic space has a potential meaning beyond its literal presence in the picture”. The set of images I plan to create for this assignment will be inspired by this thinking, there will be meanings beyond the literal image, these meanings may be slightly different to each different person viewing the image. I decided to test this theory and asked each member of my family to interpret each image. I have attached the collection of hand written interpretations to each corresponding image to create a set of six diptychs for my assignment.
I also researched the work of Kaylyn Deveney, The Day To Day Life of Alfred Hastings and I was inspired by the way Deveney got the subject to interpret his own photographs in his own handwriting and in his own words, so the subject has more control in the work and it is more of a collaboration. This is what I have done with my work for this assignment and has been the main source of inspiration for my work. I have used lined paper out of a small notebook for each person to write their thoughts and feelings on each image I presented to them.
I am inspired by the work of KayLyn Deveney and her body of work called The Day To Day Life Of Alfred Hastings. I have used the idea of hand writing a description of the image for my work on this assignment.
Ideas
Mind map of ideas for this assessment was created over a number of days where I kept revisiting the brief and thinking about it and jotting down more detail, this, combined with researching theory and other photographers.
As i created my mind map I came up with three ideas that kept recurring, these were:
Working from home: something that has hugely changed my day to day routine and my life in general
COVID and the lockdown measures: how these have impacted me personally, and those closest to me.
Heath and fitness targets: being someone who has recovered from a critical illness, health is very often what I focus on and think about
Planning
I decided to choose the Lockdown theme and interpret this through images since it has had the biggest impact on my life and has really affected every pat of my life from mental health and wellbeing to relationships and my life goals. It is like every aspect of my life as I knew it has gone and everything is up in the air with the potential for radical change. As I went on my daily exercise walks I began to see images that took on other meanings, such as a path that takes a turn and the end is not visible, this can be interpreted in a way that we are all on a journey during COVID times and the end is very unclear.
Execution
Editing my work I find is one of the most challenging aspects. I took on board my tutors’ feedback from my first assignment and printed out a selection of images I thought may be strong contenders. I laid these out on a table and created a group I thought would look good together, I then noticed the blue sky was very dominant so I discarded these images and went for more muted tones to tie the series together, browns, greys and greens instead. I tried to choose images that had strong shape and lines. I lived with a group for a while then revisited the group and my mind was constantly changing about what I wanted to include. I also had to think that each image has to be different and tell a different story to the others and be able to stand up in it’s own right.
The annotations on my contact sheets are of emotions that come to mind when I see beyond the literal subject matter, I tried to identify strong form and shape and consistent colouring through the chosen images. I find this really difficult and it did help to print off a number of ones I was potentially interested in submitting and just laid them out on a table to see which ones visually connected as a group
Conclusion and Further Work
Once I had created the work and numbered the photographs in my series, those contributing with written words used the numbering I gave to each image. I then thought that the images I chose could have been sequenced better to tell a story. The number allocation was random, when I rework this and depending on feedback from my tutor I will look to apply a narrative thread to this work.
My tutor suggested further reading around editing and sequencing of images, this is an area I need practice and to develop an effective techniqe
Some notes I took from the book so far :
The book’s concept is very important
Elements of the story can be introduced at first without being related – the viewer trusts the author that the story will be revealed later on in the book and they can make sense of the photos – eventually things will start to relate to what has been seen before
Use double sided tape so can attach and remove images either from a wall or a dummy book
Dont put too many different layouts and image sizes for different spreads
Start edit and sequence and simple layout with a basic dummy – and then when happy refine other bits.
Simple decisions and ideas lead to a complex and truly immersive book – Mariela Sancan (Moises) – the book is unfolded to discover portraits of an old man in his 70’s – her dad died from suicide and this searching experience in the book reflects her pain.
Design :
How a page works
How to pace information
How text can support an image and vice versa
Design is not what the photographer wants but what the work in question demands
Most photographers are not trained designers- approaching a professional designer early on in the process is a good idea – find graphic and physical manifestation of your photographic ideas
Tien Van Der Heijden – Dutch Designer
2 books on either side of the design spectrum : Walker Evans – American Photographs and Interrogations, Donald Weber
A designer that knows how to read the language of photography can have input on the editing too
Design helps telling the story in a physical form that adds to the intention of the story
Limited budget will force you to enhance the essentials and the basic elements – often making the work stronger as a result
The Dutch Photobook – Aperture 2012
The photobook, A History – Martin Parr
Kuipers 10 golden rules pdf
Physical aspects : the colour cast across a book especially if its a budget print
Choice of paper, type of printing and type of binding will all affect the outcome
Perfect Binding – a common cost effective binding, restricts opening – avoid detail close to the middle – there is no perfect binding option and with age a physical object will deteriorate no matter what the quality of binding used
Richard Benson describes the difference between a photobook and an exhibition :
“How naive are we to think that we can see it all at first glance when hung on a wall or on a computer monitor. The book solves this problem, we can look long and hard without distraction and return to it again and again. Photographs can become like old friends, and like the best of them they can reveal themselves endlessly as we come to know them better”
In my own work
I need to start to print out my work and get the editing and sequencing part of my work better – put images on the walls and live with them
Need to find a partner that can critically evaluate my work and I can work with going forward
Become familiar with a number of photo books to inform your own work – try to understand whether they work, how they work – how their different elements come together and how design helps to support the work
Feedback from my tutor about assignment 1 suggested further reading into the work of diCorcia- his method was to set up a camera a distance from where he is located and use a remote control to operate it, so people are photographed without their knowledge in a completely natural state
The main points I noted from watching the youtube video were :
The method of making work was to :
Set up the lighting rig and the scene ( the dramatic elements)
Use a polariod with actors and construct the scene in advance and test the result
Let the subject walk into the frame – these can be either known or unknown people
I classify people into different archetypes, most of the time they are not like that but I manipulate them to be like that.
To photograph people in the street effectively you have to sensitise yourself to the subtle clues
A photo captures a moment of truth and diCorcia operates to disrupt this completely
Often he didn’t know his subjects because of his methodology
The interior of a person is very different to the exterior, “life is a performance”
Because of the physical distance from which the images are taken, this gives the viewer alot of authority to interpret and experience the images in the way they want to.
The eye level cinematic approach to making his work is what draws the viewer in and makes them more real and engaging
The idea you can manipulate people and the world in this way is an interesting and compelling motivation for me.
For my own work: this was a very quick diagnostic assignment, diCorcia took over 3000 images to make a series of 17 – so lots more work and photos needed to be able to create something I am happy with
Setting up with a tripod, perhaps at a cinema style level which is square and a level aspect would give more impact – use a remote for taking the shots
Think about lighting, this has a huge impact on the feel of the image
Street photography has become more difficult over the years in the UK with an increasing amount of suspicion around the intent when a photographer is seen on the streets with a large, obtrusive camera. The duty of care over children and the use of their images on the internet has also become an issue, however, a public space is a space where it is legal to take photographs in the UK, for now anyway.
My approach to making this work was to simply stand at a distance from my subject and photograph the buildings next to them so the camera was not facing them directly. After a while my subject became used to me and thought I was not photographing them. I would move my camera occasionally towards them and take the shots quickly as people entered the frame, then move it back towards some buildings again. This took about twenty minutes and some patience. I wanted to capture the same scene but different reactions from people walking by, hence what appears to be a similar photo, but is in fact not because of the interactions that are going on within the frame between those on the margins of society and those who are not.
Ideally I would have liked to introduce myself to the subjects and asked their permission, but in this instance I felt the purpose of my shots were totally in my interest and not theirs. Reflecting on the situation, the activity could have been mutually beneficial where I could pay them cash perhaps? There is still no guarantee that this approach would have been received well.
I am interested in social change for the better for all people and have a particular empathy for the homeless, I admire artists such as Anthony Luvera and Lee Jeffries who spent time with the people and treated them with dignity and respect and built up mutual trust before they embarked on a collaborative photography project. The projects also generated income for better support for them and also changed the way councils are obligated to support the homeless in the UK. This, ideally is how I would want to approach an activity such as this, but since it was just for an assignment at this time I chose the anonymous route this time.
Feedback from my tutor on this assignment was to link this blog to my assignment in its bibliography so there is a better understanding by the reader about how I made the work.
For my own work: this was a very quick diagnostic assignment, diCorcia took over 3000 images to make a series of 17 – so lots more work and photos needed to be able to create something I am happy with
Setting up with a tripod, perhaps at a cinema style level which is square and a level aspect would give more impact – use a remote for taking the shots
Think about lighting, this has a huge impact on the feel of the image
Understand fully the different street photography techniques and with practice and experience develop a style and approach that reflects my values and interests, currently I prefer the collaborative way in that the process has a positive impact on everyone involved, however, the practicalities of this approach at present inhibit me.
Additional feedback is to research the work of :
Street Photography Alternatives: Placing the camera (on a tripod) and allowing people to walk into the frame (might help less conspicuous when making the ’objective’ images/ Passer by • David Campany. 2020. ‘Anonymous And Incognito: Walker Evans’ – David Campany.[online] Available at: https://davidcampany.com/anonymous-and-incognito-walker- evans [Accessed 23 March 2020].
• Lorca diCorcia, P. (2014). The Hepworth Wakefield: Photographs 1975 – 2012 . [online] Available at: https://www.youtube.com/watch?v=So_FK4qnz5Q [Accessed 21 March. 2020].
This blog lists all photographers mentioned in Unit 1 and a brief description of their work or why they are important to this unit. Unit 1 is about photography and the truth.
Judith Williamson’s ‘Advertising’ articles in Source photographic review provide an excellent example of a critical approach.
Joachim Schmid is an example of an artist who adopts a thoughtful approach to photography. He is a German artist who had been buying photographs in large quantities from flea markets for years (he has over 100,000). When Flickr was invented he moved from collecting on the street to collecting online.
Jeff Wall have become renowned for their painstaking attention to detail when creating the narrative of the individual image. (A better word in this context is mis-en- scène, a term used in film for the set and construction of the scene.) As on a film set, every prop, dress and character is there for a reason: all contribute to the overall narrative of the image.
Rexford Tugwell and Roy Stryker set up the Farm Security Administration – agency to look out for the farmers who had suffered from the great depression 1935 to 44 – photographers who worked for the FSA were Walker Evans and Dorothea Lange (Migrant Mother (1936)
Lewis Hine used photography as a vehicle for social reform – raise awareness and promote change (1874 to 1940) eg. the law on child labour
Gideon Mendel “Dzhangal” the origin of the term “the Jungle” which is a name used for the migrant camp in Calais. His work is of alternative portraits such as a group of toothbrushes or a child’s school text book
In her 1995 essay “Inside/Out” Abigail Solomon-Godeau (2017) argues against a binary insider/outsider approach to documentary photography – look at the subject from a distance but offer some sort of “truth” – Robert Frank (The Americans) and Ed Ruscha’s work are good examples of this.
Roger Fenton, one of the earliest war photographers photographed battle scenes with dead bodies and took portraits of soldiers in quieter moments
David Campany Essay – “Safety in Numbness” 2003 – sets out concerns of aftermath photography and if it conveys the complexity of political events
Joel Meyerowitz, official photographer for 9/11 – Campany considers his work too safe and beautiful therefore not fitting for depicting the horrific actions of terrorism.
2002 Paul Seawright commissioned by the Imperial War Museum to make a series of images of the war in Afghanistan – he adopted an aftermath approach – deviod of action
Paul Seawright also made “Sectarian Murders” in 1988
Edgar Martins, A Room at 14 Baldwin Farms South (2009) showing an empty house in US after the financial crash – reportage photography
Henri Cartier Bresson’s The Decisive Moment fits in nicely with Reportage photography – its about all the components coming together within one frame to speak of something beyond the frame
Dana Lixenberg – Imperial Courts (1993 to 2005) photographed the residents of Imperial Courts in Los Angeles – an African American estate – she photographed families for 22 years – she was determined to tell the story of these people’s lives from a different angle to the one dimensional reportage happening at the time. The area had been wrecked by racist riots and she was asked to document the reconstruction of the area.
1967 John Szarkowski curated the show New Documents at Moma – aim to show new kind of documentary photography in America and he selected Lee Friedlander, Dianne Arbus and Garry Winogrand to make his point – photography can also be considered as art and not purely as a document
Tate Modern first photography exhibition in 2003 – Cruel and Tender. Examining photography’s relationship with realism. August Sander, Lewis Baltz, Philip Lorca DiCorcia and William Egglestone demonstrate diverse nature of photography and it’s relationship with the truth.
Sarah Pickering “Public Order” (2002 – 5) work about a deserted artificial town for police to use for riot training – this documentary style challenges what is real
Alessandra Sanguinetti is a Magnum photographer – her series “The Adventures of Guille and Belinda and the Enigmatic Meaning Of Their Dreams(2016) ” she documents the lives of two young girls growing up, their relationship as sisters and their lifestyle in South America – she interprets their imaginative play and dreams into visual depictions of fantasy. This documentary style challenges what is real
The Cottingley Fairies taken by Elsie Wright (1917) and Frances Griffiths who claimed they played with and took photos of fairies in their garden. It became a subject of debate for decades and it wasnt until the 1970’s that the hoax was confirmed.
Oscar Gustav Rejlander (1813 -75) became known as the father of art photography and the master of photomontage. His work “Two Ways Of Life” (1857) was made using over 30 separate negatives and depicts the life of a sinner and the life of a saint in one highly elaborate tableau.
Peter Kennard and Cat Phillips (2002 -19) Photo Op series and their photomontage work (digital manipulation)
Wendy McMurdo – “Young Musicians” (1998 -2013) photographed young musicians and later digitally removed the instruments so the viewer is forced to observe the psychological state of the child.
This quick exercise is designed to introduce the idea of analysing and reflecting on the work of others, and to give you some material for your first learning log entry or blogpost. Here’s a selection of creative practitioners that you will encounter during this course unit: ● Elina Brotherus ● Gideon Mendel ● Hannah Starkey ● Nigel Shafran.
Choose one of these names and find a piece of work they’ve produced. Remember to reference the works you have chosen using Harvard Referencing, so it’s clear what you are looking at, who made it, and when.
Pick one of the pieces and briefly describe it. Consider its qualities by trying to describe it. What are the different elements within the work and how do these elements work together? What do you think the work is trying to communicate? Imagine you’re describing the work to somebody over the telephone. Try to do this in no more than 50 words. For image based work, what you’re doing here is analysing the formal visual language of an image. This is known as visual research or, sometimes visual analysis. Writing can be a useful tool in visual analysis, but you can also annotate images with notes.
Using the same piece, briefly write about how you relate to this work. Do you like it or hate it, find it intriguing, influential or outdated, and if so, why? Does the work connect to wider ideas or other creative practitioners? In other words, what’s your opinion on this work. Don’t worry about ‘getting it wrong’ or ‘missing the point’. Perhaps your reflection raises more questions than answers. Again, try to do this in no more than 50 words.
Use the text you’ve generated to create your first blog post or learning log entry. You may also want to be self-reflective by considering your experience of doing the exercise. Did you find it an easy or difficult task? Did it raise any interesting issues or areas you want to develop further? Write a sentence or two picking up on any of these points in your learning log.
I have chosen Gideon Mendel and his work Freedom or Death
The images were taken during an intense period of war in South Africa from 1985 and 1989 at the start of Gideon Mendel’s photography career. The images depict a struggle for freedom by the indigenous people and the life of the white minority, this can still be visible by the subjects in these distorted images. The images appear abstract because the water damage has created distortions on the image, this adds to the aesthetic quality of the work. Mendel chose to include the negative borders in the images which connects it’s origins and ties in with the narrative about the damaged physical negatives over time.
I like this work because I am drawn the the material affectation of physical prints, this is just a variation on that theme. I like the abstract patterns created by chance to when the negatives were damaged, colourful quality where the damage occurred is attractive to me. I am drawn to this work on a deeper level, growing up in Rhodesia during a similar civil war and also witnessing this struggle first hand in the 1980’s whilst on holiday in South Africa, this work resonates with me on an emotional level. I was first drawn to the physical affectation of the printed image at my first student visit to the Blast festival in West Bromwich in 2019. Nilupa Yasmin takes images and cuts them into strips and weaves them together to create an abstract version as the final outcome. Nilupa Yasmin’s work “Where Can I Find This” was work taken at the Sandwell markets and then cut and woven together.
Nilupa Yasmin’s final outcome of work is physically affected through the process of weavingWoven images are grouped together to form larger more abstract images which I really like
I was also drawn to the work of Sam Ivin, called “Lingering Ghosts” where he scratched out the faces of asylum seekers on printed images, as if to erase their identity, similar to what asylum seekers feel when in limbo, awaiting approval for residency. This work also represents a social struggle by a group of people and I am also drawn to social issues, which connects Gideon Mendel’s work to this I have previously enjoyed.
These scratched out prints produced by Sam Ivin for his work “Lingering Ghosts” are very moving and thought provoking
Sam Ivin’s Lingering Ghosts Work is also socially engaged and symbolises a struggle
Below are some images from Gideon Mendel’s Work “Freedom or Death” that I particularly liked. The captions are what accompanies the images on his website
Protestors outside the Congressof South African Trade Unions (COSATU) House, after a May Day rally in which COSATU demanded the day become a paid holiday and called for a nationwide ‘stay away’ protest by workers. One and a half million workers across the country, along with thousands of school pupils and students observed the call. —Johannesburg, May 1986Members of the RAU rugby team have a moment of prayer and bonding after winning a gameat the RAU Stadium. —Johannesburg, July 1989Protestors outside COSATU House. The first of May 1986, marked the 100th anniversary of International Labour Day, also known as May Day. —Johannesburg, May 1986Students from the Rand Afrikaans University (RAU) celebrate at the end of their annual RAG parade during their first week of university. —Johannesburg, March 1989Activists during a mass political funeral for youths slain in the so-called ‘grenade incident’ which took place in Duduza Township. Eight activists were killed when an undercover agent gave them booby-trapped hand grenades. —East Rand, Gauteng, July 1985
Their distortion speaking a deeper truth beyond the original documentary format.
I have checked through the list of resources for this course and I have recently created an area for my studies at home, it has a wall I can use for images I want to live with and consider when making work, I have some temporary flip chart paper that sticks to the wall which I have found extremely useful.
Photoshop is something I need to get to grips with and so I am considering an evening class for this which starts in April.
I don’t currently have lots of space for a portraiture, ideally it would be great to have this space so I have a permanent backdrop set up for this purpose, I will have to think about how I can do this.
I need to sort out my printer as I find this really valuable when sequencing and deciding which photos go together as a seriex. The printer needs to be in this room ideally, it is currently in another room.
My work area for my studies, I have organised my books and equipment so I can find everything easily. I like the whiteboard plastic sheets I can write my work schedule on so I stay focused on completing work to the timescales I have set myself.
Balancing a job, a family and study needs careful planning to make sure the work gets done. With this in mind I created a list of all exercises, research, assignment work and reflective work for each unit so I can keep track of what needs to be done and tick it off as it is completed. I have put my list of work for my first unit above my desk at home to keep me focused on what needs to be done
Assessment deadline date for submission is 30th September for November and this is what I am aiming for. I have 5 units to complete so I have given myself a deadline for submitting the assignments and also when I should aim to get feedback, I have planned that each assignment it sent to my tutor at the end of the month, so A1 is with my tutor at end of Feb, A2 is at end of March – so A5 will be end of June. I have assumed that it will take two weeks to get feedback ( middle of the following month ) then I have another 2 weeks to rework based on tutor feedback, so the reworked A5 will be complete at the end of July 2020. I have a summer holiday for 2.5 weeks so I have about 6 weeks to prepare for my assessment submission at the end of September.
During a typical week I plan to work on shooting photos every day for practice of composition skills ( on my way to work in the mornings during the week ) Weekday evenings will be used for coursework (exercises and research and reading) and Sunday mornings and Mondays will be used for assignment work ( I don’t work on Mondays)
The photos below are extracts from the back of my notebook where I have planned my studies, I will tick off work once completed so I know I am on track and where I am in my studies to stay in control of time management.
Context And narrative Timeline to get work done for November Assessment Prep work and Unit 1 Timeline – as each bit of work is done it will be ticked off the list – I will have a copy of this on my wall above my desk as well as my notebook. My notebook is with me all the time so I can review it any time I have a spare moment – it’ in the back of my notebook so it doesn’t get lost among other notes Unit 2 list of work to be done with a tick box for when completed – it would be really handy if these were appendices to the coursework that could be used by students to manage their work instead of me having to write this down like this I have created a process for producing my assignments that works for me, these headings are replicated in my blog so each stage is a separate blog, the “rework” blog is the final version of the assignment that gets sent to be assessed Lesson learned from my first module, I will now write a summary of each unit before moving on to the next and will make sure all work for assessment is prepared before moving on I need to aim to complete all work by the end of July to give me time to prepare for assessment to the standard I want to achieve, my first assessment was a rush and was stressful so I want to avoid this with this module
Jenny Stork: Photography 1: Context & Narrative 