mapping own practice against models of contextual practice
TRANSCRIPT
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Mapping Own Practice Against Models of Contextual Practice
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Mapping Own Practice Against Models of Contextual Practice
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What I do
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Professional
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Enhancing creativity through the use of digital technologies
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Digital Video
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Digital still
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Animation
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Personal
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Photography
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Input
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Output
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Publication and Sharing
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Contexts in which I work
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Formal
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Essentially working in a two-dimensional medium, the outcomes
of photography can be much broader than just a sheet of paper
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Materials
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Camera (input)
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Memory card (storage medium)
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Printer (output)
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Printer paper
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Fine Art
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High production values
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Expensive appearance
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Glossy
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Matte
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etc
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Fabric
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Sheet materials other than paper
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There are compositional 'rules' which all photographers learn to apply and many go on to ignore,
bend or rewrite
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Rules of composition are there to help the photographer make a 'good' picture and the viewer to
understand it
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Rule of thirds
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Golden Section
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Point of Focus
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Leading lines
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Depth of field
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etc etc
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Describing my work
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I am a photographer, I take, print, publish and exhibit photographs
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I take photographs of a broad range of subjects, but specialise in
reportage/street photography/candids/environmental
portraiture
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I have developed strategies for taking photographs of people which
are unobtrusive and non-confrontational
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I like to think that I can build up a good rapport with people who are
aware of or have consented to being photographed
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My photographs are technically good, but not perfect
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My images are creative - I look for unusual angles, points of view etc.
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I often shoot to crop - none of this 'what you see in the viewfinder is
sacrosanct' nonsense
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I look for the unusual, bizarre, amusing in people
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I can spot shape, form, texture and compose around these
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I teach teachers how to make effective use of digital technologies
to enhance creativity across the curriculum (but we won't go down
that avenue right now)
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Effect/s of my work
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On me
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Satisfying
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Frustrating
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Liberating
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Empowering
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Pride
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Embarrassment
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On peers
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Opens up dialogues
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Fosters debate
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Alters perception of me (favourably, but erroneously in my opinion)
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On other viewers
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Who knows?
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Positive - have sold work
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Social
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"Viewing and making are influenced by the society we operate in; there
is no innocent eye" SW
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Audience for my work
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Exhibition viewers/potential purchasers
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Competition judges
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Peers
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Self
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Institutional judges (eg RPS)
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Society's attitude towards photographers, especially reportage
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All men with cameras are paedophiles or terrorists
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Go away you're invading my space!
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You've got tripod, you must be a professional
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This shopping complex is private property so you can't take photos
here
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Political
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You can't take photos here, you might be a terrorist
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Please send us your photos - we (police, TV) rely on the public
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Personal
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A short biography
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I am arts trained - my B.Ed was in Art and my first MA dissertation was
on creativity and IT
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I taught Art and Design for many years, heading a department
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Particular issues/memories
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Photography was in the family. Brother and both parents had
cameras; father and brother active amateur photographers with darkroom facilities at home.
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Early memories of the walk-in pantry being converted into a
darkroom (where did all the food go?) and long strips of film swirling around the bathtub. Sitting in the
darkroom under the red light, wanting to be involved with the
magical enlarge and print process but probably just getting in the
way...
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First camera (Brownie 127) at an early age (7?)
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Photography always seemed important and was always a means
of recording for me, both socially and professionally
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Pleasures in life
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Travel
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Seeking our alternative cultures - at home or abroad
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Good food
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Music no more
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Motivation/driving forces
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Insecurity
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Low self-esteem
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Need to rebuild and refocus
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Brain needs engaging after years of numbness
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Particular skills as a photographer
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Shooting people
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Good sense of colour
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Subconscious ability to compose well (traditionally/creatively)
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Strategies adopted when it all goes horrible
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Open a bottle of Sancerre
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Relation of self to social, historical and cultural forces
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Very aware that I'm part of a huge continuum in the development of
photography...
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... and at an extrememely significant time - there has been no
development like the digital revolution since the arrival of the
first 35mm camera
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Photographic history places expectations on one in terms of
genre, technical skill etc.
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Critical/Theoretical
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Current debates
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Freedom to photograph
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Consent and ownership
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Photography as art
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The camera never lies (but Photoshop does)
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Social Constructivism
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"Constructivism is an emerging view of learning that rests on the idea that new information is added to
existing mental frameworks... social Constructivism is based on the assumption that members of a given social network mutually
negotiate meanings of ideas and practices." John W. Schell
http://www.arches.uga.edu/~jschell/discovery/theoretical_framework.htmLinks:• http://www.arches.uga.edu/~jschell/discovery/theoretical_framework.htm
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Photographic communities are constantly defining and redefining what a photograph is, especially in
the light of digital technologies
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Photographers' practice is influenced by current and historical
perceptions of the nature of photography
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Transformational Learning
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"Often considered a form of constructivism, transformational
learning is based on reflection that transforms the beliefs, attitudes,
opinions, and emotions of the learners. Mezirow believes that
transformational learning is based on “disorienting dilemmas” or
situations that are outside of our usual world views. To resolve the
dissonance, the learner must create new ways of interpreting their
experiences. This leads to a new self-view and deeper meaning
based on insight. Transformational learning encourages, reflection and critical thought, more receptiveness
to the paradigms of others, and acceptance of new ideas." John W.
Schell
http://www.arches.uga.edu/~jschell/discovery/theoretical_framework.htm
Links:• http://www.arches.uga.edu/~jschell/discovery/theoretical_framework.htm
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The nature of my photographic practice has changed significantly in
the last couple of years as I have begun to consider the ethical and political consequences of street photography especially in the
current 'terrorist aware' climate
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Content analysis
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Iconography
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Semiotics
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Digital and design aesthetics
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Digitality: Approximate aesthetics
http://www.ctheory.net/articles.aspx?id=290
Links:• http://www.ctheory.net/articles.aspx?id=290
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"The digital camera allows a proximity to material, to skin, to the
surface of paint that excels the eye's trained ability to sort and
recognise." Matthew Fuller
Links:• http://www.ctheory.net/articles.aspx?id=290
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Questions to ask
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What is the nature of the relationship between the viewer and
the image?
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How does the camera affect the transaction between the subject and
the viewer?
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Disruptive technologies
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"Disruptive technologies always work democratically: they allow increasing numbers of people to
have access to those things which were previously very rare,
expensive, or difficult to produce. Photography allows anyone to own
a detailed, realistic picture of anything which can be
photographed such as a portrait. Prior to its invention, high-quality
portraiture was the exclusive domain of the elites, due largely to the level of technical skill required of painters. Photography "short-circuited" this process. It is no
accident that the majority of images from the first fifty years of
photography are portraits and other subjects well-known from paintings. In attempting to demonstrate that it
was art by imitating painting, photography proved to be the
archetypal disruptive technology: it replaced painting by doing what
painters did, only cheaper and more often". Michael Betancourt
http://www.ctheory.net/articles.aspx?id=336Links:• http://www.ctheory.net/articles.aspx?id=336
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"Photo-colonialism"
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"According to philosopher Michel Foucault, power and knowledge
reinforce each other. Anthropologists wield power over non-Westerners through ways of
photo-colonialism. The camera can be seen as analogous to Jeremy Bentham's Panopticon but non-monolithic..." Joyce Tanjuakio
http://home.utm.utoronto.ca/~jmt/anthrophoto.htmLinks:• http://home.utm.utoronto.ca/~jmt/anthrophoto.htm
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Historical
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Enormous but relatively short history of photography and
photographers
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Pioneers in both processes and output
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Processes
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Daguerre
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Niepce
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Fox-Talbot
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Eastman
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etc
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Output (images)
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Cartier-Bresson
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Walker Evans
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Ansel Adams
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Mapplethorpe
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etc
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Established genres
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Landscape
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Portraiture
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Abstract
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Wildlife
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Glamour
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etc
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Photography has come from an elitist middle-class activity to the
point where everyone is a photographer now (cameraphones,
webcams...)
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Geographical
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Photography as a Western, developed-world activity - the
egocentric view
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Much excellent work goes on in Japan, India, Africa... but we need
to seek it out
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My personal practice is limited to my immediate locality most of the
time, with several excursions out of county and occasional trips abroad.
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Italy, Tunisia, Morocco...
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Norfolk
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Norwich
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Web-based publishing makes a nonsense of geographical borders - it doesn't matter where you make your images, you can share them
across the world
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Institutional
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Family background
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Professional parents
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Everyone had a camera
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Portrait sessions at home
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Darkroom in the pantry
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Photography was the norm
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Repressive upbringing
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Desire to leave home asap
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Creativity and individuality considered rebellious
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Low parental expectations of daughters
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Educational background
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Single-sex grammar school
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Arts subjects (Eng Lang., Lit, Art etc) Art 'A' level
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Teacher Training College - B.Ed Art
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Main subject Art
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MA in Professional Studies (Education)
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Professional background
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Teaching
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Head of Art, Design & Technology
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LEA Inspection and Advisory work (inc Ofsted)
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Design & Technology, Information Technology
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Where did my roots go?
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Founded freelance advisory service to schools in 1997 - never looked
back since
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IT advice, training and support
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Specialisation in fostering creativity through digital technologies (video,
still, animation etc)
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NSAD
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Return to my art roots
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Feeling at home in the environment
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Intellectual engagement
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Taking after a professional lifetime of giving
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Cultural
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See 'Mapping the Territory' elsewhere
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Influential photographic genres
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Reportage
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Photojournalism
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Street Photography
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Influential/admired photographers
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Walker Evans
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Stealth and ingenuity on the undergound
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Diane Arbus
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For celebrating human diversity
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Dorothea Lange
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Reportage which was influential at the time and is now iconic
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Jeff Wall
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Recording the incidentals of life
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Don McCullin
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For bringing us the images no-one wanted to see
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Robert Mapplethorpe
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Pushing the boundaries of portraiture
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Immo Klink
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Anarchy through the lens
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Duane Michals
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For blurring the boundaries between photography and
philosophy
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Henri Cartier-Bresson