Identifying particular reflective pieces in my blog:
During ‘Phonar’ (Learning Outcome. 1)I have successfully undertaken appropriately sophisticated research, analysis and interpretation of information, this is shown in my research for tasks and my “Post Photographic Portrait”. I have also written reflections on tasks and weekly sessions. As shown below I have analysed and interpreted information.
“Hetherington got to know the people, he immersed himself; he became an insider to understand the situation he was covering in his work. This links to what Levi Strauss covers in “The epiphany of the other in Between the eyes Essays”. He talks about Sebastio Salgado and how his understanding and empathises means that he can cover the work from an insiders view. His work is different, instead of photographing the drama like other documentary photographers; he is more interested in the people. I find this is a similar approach to Tim Hetherington…Hetherington wants to immerse his viewers; he wants us to experience as much as we can so that we understand.” (https://jstonelyphotography.wordpress.com/2014/10/19/tim-hetheringtons-restrepo/)
“Dalia Khamissy believes that Photography is about your personal research; this links to Todd Papageorge” If your photographs aren’t good enough, your not reading enough”. The narrative of the civil war hasn’t yet been written yet, they cannot teach it, because they haven’t decided yet. She is trying to use the narrative as a nature for change; she wants the people of Lebanon and the outside to see this; this links to how Fred Ritchin sees the role of photography, as a tool for change.”(https://jstonelyphotography.wordpress.com/2014/10/29/4258/)
I have identified the key issues involved in creating concepts that effectively communicate a particular message to a specific audience (LO. 2). For my “Post Photographic Portrait” I designed work for digital natives wanting to explore the world of motor sport enthusiasts. During other tasks I learnt about issues involved in narrative story telling, as seen below for my ‘Spoken Narrative task’,
“By putting us (as photographers) into this situation it made us realise how we can put our subjects at ease… We have a responsibility as photographers/story tellers; we need to tell stories not from our points of view but from the subjects. If we want to be trusted and our work to be trusted we need to make sure we aren’t changing or altering the story to suit our needs. Perhaps we can check back with our subject and see if they agree with how our work is progressing and ask them for feedback so we can develop.” (https://jstonelyphotography.wordpress.com/2014/10/19/my-spoken-narrative/)
I have independently produced a photographic narrative utilizing a range of analytical and practical photographic skills (LO. 3); throughout tasks and my final piece I have developed new audio and photographic approaches (can be seen at https://jstonelyphotography.wordpress.com/2014/11/16/the-making-of-my-post-photographic-portrait/). Aaron Huey “made me realise that, “to make great work you have to go into the unknown. The uncomfortable will give rewards! I have interviewed people for my project. This was a new and unknown experience. Talking to people that I don’t know and interviewing them gave me a context that I wouldn’t have been able to include otherwise”. (https://jstonelyphotography.wordpress.com/2014/11/12/aaron-huey/).
It was also Huey that made me aware that, by placing my work online it is assessable by most people. For my “Post photographic portrait” I am expanding whom I reach with my work. By collaborating with Laura Ritchie’s cello piece I am engaging an audience from a music background. By talking to motorcyclists I am engaging with them and their friends surrounding motorsports. This all expands on my audience for my work. I realise now that it is imperative that we show our subjects story how they want to show it. It is the collaborative part of the work that makes it successful.
“Mansour shows a Polaroid print to her subject whilst shooting, asking them about how they would like to be shown and what degree of visibility they are comfortable with. This is particularly important in Saudi Arabia as women do not reveal their identities to the public; therefore it was important for her to talk to her subjects and ask about what they were comfortable with…As a photographer we have to gain our subjects trust. I believe that collaborating with your subject allow for a deeper level of trust. This reminds me of Anthony Luvera’s assisted self portraits.” (https://jstonelyphotography.wordpress.com/2014/10/29/4258/)
Our photography is always linked to the triad relationship of the photographer, subject and audience. During ‘Phonar’ I have learnt to be careful not to miss-represent the stories of my subjects. I prioritised my participants; letting them lead.
Throughout ‘Phonar’ I have taken part in tasks that have allowed me to experiment with a range of narrative forms and media as a creative method for clearly articulating visual themes, stories and concepts (LO. 4). From tasks such as ‘Alienated Sensory Mash Up’ to ‘Unphotographable Phiction’ I have explored audio techniques, and from ‘My spoken narrative’ and the ‘Transformative storytelling task’, which allowed me to develop how I approach my participants.
I have critically evaluated my project work and the editorial decisions made throughout this process and its commercial relevance with respect to my chosen areas of specialism (LO. 5). Here is my ‘Post Photographic Portrait’ development, which shows my decision-making, (click here to see blog post: https://jstonelyphotography.wordpress.com/2014/11/15/research-and-development-of-my-post-photographic-portrait/). It was my “Transformative story telling” task that lead me to my “Post Photographic Portrait” idea. I evaluated my choice of platform for my immersive media piece, and developed my audio skills. I reflected on my ‘Transformative story telling task’ so that I could develop these ideas further. My work also developed from my weekly reflections as shown here. Having heard from Sarah Davidmann I have started to “think about how family histories are retold through the family albums. There are missing sections, as we only take photographs at happy events. We don’t take photographs of the struggles. Not only is this a personal conversation with her family album, but also it has larger implications on family albums in general. This is particularly interesting for me as I am also looking at my family albums. The way that she explored the past of her family that had never been told to her before was intriguing. By discussions with her mother, and looking through old letters and documentations she rediscovered her family stories”. (https://jstonelyphotography.wordpress.com/2014/11/05/sara-davidmann/)
From taking part in #Phonar and listening to the interviews I have learnt about the respect we owe our participants, Khamissy made me realise that, “I should feel privileged to be the person that these people are sharing their stories with. As Khamissy said, we have a responsibility to tell the stories and witness to their narratives. I want the stories to come across as they told them. Therefore I have chosen to interview my participants. I plan to tell them about my project and show them how I plan to show the photographs, artefacts, and interview clips. I want to make sure that they are happy with how I will show and share their stories.” (https://jstonelyphotography.wordpress.com/2014/11/15/jason-tilley/)
One of Robert Capa’s famous quotes is, “If your photographs aren’t good enough then you aren’t close enough”. Todd Papageorge then altered this to, “If your pictures aren’t good enough then your not reading enough”. For my ‘Post Photographic Portrait I gathered information from people and gained an understanding of their stories. I feel this is my reading. I explored the context from which I created my archive. Fred Ritchin thinks that since photography has gone through its 2nd paradigm shift photographers have a new role as editors. By collecting these stories, artefacts, and photographs I feel I have become an editor of the project. Through my archive I am telling the stories of my participants.
Having listened to the interview with Fred Ritchin from ICP in New York, “I have a new reflection on my “Post photographic task”. I plan to create an interactive platform for the viewer to explore online. I shall try to over come these issues by creating an interaction where the viewer can see where the photographs came from, and can explore other feelings within my work. However, I realise that this will never be the original; it will always be a digital online screen version. “(https://jstonelyphotography.wordpress.com/2014/11/19/catching-up-with-fred-ritchin-from-icp-in-new-york/).
For further information please see my blog for weekly reflections and tasks. Post Photographic Portrait explained: