OCA Major Project - New Focus

After all the reading I have been doing of late, I have been reflecting upon the focus of my Major Project for my OCA course. At the start of my course, when I first introduced the idea of doing my project on 'Workers', my tutor said that I may need to refine it, and he was undoubtedly right. This has been reiterated in the advice I received during my portfolio review, and was a major theme coming out of David Hurn's book - the need to be specific, with strong subject matter.

I have, therefore, refined my project to specifically focus on workers in uniform, particularly those that give of themselves for the greater good of others, such as in the Armed Services, the Fire Service and the NHS. Through the images I want to explore the work they do, and the conditions they find themselves in at times - sometimes cramped, cold and uncomfortable and at other times dangerous and/or immensely stressful. I have already started the project with a look at the RAF Regiment training for a deployment to Afghanistan, and also a brief glimpse into the lives of the Royal Gurkha Regiment in Kandahar. These images will form the basis of my next assignment, which will be followed up with work on Fire Fighters, Nurses and the Lifeboat Service.

An example image from this project is shown above, depicting a young airman (19 years old) trying to operate in the back of an armoured vehicle, during an Exercise in which the team were training to patrol against the ever-present threat of suicide bombers in Afghanistan.

Unusual Forms of Inspiration

It has been an incredibly hard couple of weeks in terms of workload. I seem to have done an inordinate amount of reading, but little picture-taking, which is rather frustrating. However, I have set aside some time this week to get out and work on some of my projects.

Aside from reading David Hurn's book (see previous post) and researching for my essay on Martin Parr, most of my reading has been for my Masters degree in HRD and Performance Management. I have an essay to write for next month on Learning Organisations and the research has taken up a great deal of my time. However, time learning is never wasted and you never know where inspiration reveals itself sometimes, which can cross subjects and disciplines. I was reading an article by Pak Tee Ng (2004) called The Learning Organisation and the Innovative Organisation, when I happened upon a couple of sentences that summed up the strive for the perfect photographic image:

"Glamour is associated only with the occasional success; failed experiments are the silent majority. Failure is one of the biggest struggles an individual will face in his efforts to be innovative. It takes personal mastery for this individual to keep on trying until he is successful."

The importance of learning, and of striving to be better at everything we do, is as important in business as it is photography or indeed any subject - including life in general!

On Being A Photographer

I have read (and re-read) On Being A Photographer by David Hurn and Bill Jay, and have found it truly inspirational (although, it must be said, a little 'opinionated' at times - but I suppose, that's the point). I will take away from it the following 'key messages', which for me will help to define my future photographic output:

• On selecting a subject ask yourself:

1. Is it visual?
2. Is it practical?
3. Do I know enough about it?
4. Is it interesting to others?

• I need to put my own visual stamp on my work (although without thought of self - let the subject speak freely and style will develop).
• The subject needs to be continually accessible.
• The subject needs to be as specific as possible.
• Subject matter is everything - don't need visual 'pyrotechnics' with a great subject.
• Decide on position and timing, and analyse contact sheets for the way you work.
• Keep focusing in on the subject with subtle changes.
• Always reach for your goal (the perfect image), even if it is rarely achieved.
• When composing a picture, keep an eye on the main element, and then choose 2 or 3 sub-elements by position and timing.
• KNOW what you are looking for; don't leave it to guesswork.
• Good design is essential when its purpose is the clear projection of the subject matter. Design is secondary; the first priority must be to reveal the subject.
• There is no such thing as a picture being 'too good' - the photographer's aim is to create beautiful pictures, of any and all subject matter.
• The making of a perfect contact sheet is essential. One of the best learning methods is to ruthlessly examine contact sheets and analyse the reasons why shots were taken.
• Photography demands a lot of work before and after shooting.
• Photography is learned by continuous and dedicated (DIRECTED) practice.
• On shooting a picture essay:

1. Visit and absorb without a camera (or use purely for reference shots).
2. Write down images you need to complete the project (what are your impressions?).
3. Go back and attempt to shoot the images (once you have captured the image you want, tick it off and don't continue to waste time photographing it).
4. Don't be afraid of tackling difficult subjects.
5. Shoot outside the list if things come up, but then return to the list.
6. Know when you have finished.
7. A 7-picture essay equals (for David Hurn) about 720-1000 shots taken.
8. 1 exhibition-quality image will be taken per 3600 shots (100 films).

• It is important to have the right equipment for the purpose at hand and for the personality of the photographer.
• All the technical decisions in photography should be so thoughtless that the act of shooting pictures is solely concentrated on the image in the viewfinder.
• Truth is like a photograph in which thousands of different shades from black to white, and including both extremes, were necessary for full revelation.
• Web displays need to have purpose, ideas, linking themes and cohesion.

Photojournalism Discussion With Reza

I went to one of the most enlightening evenings of my life today; a presentation of the work of Reza, who was at the Frontline Club to discuss his book ‘War and Peace’. After having had an excellent Portfolio Review at the foto8 offices this afternoon, it topped off a pretty fabulous day.

Reza’s work spans some of the most poignant moments of the 20^th (and, indeed, the 21^st) Century and is remarkable in both its breadth and quality; not surprising from a man whom National Geographic celebrated on film as one of the men in the world today capable of changing the way that lives are led. Of all his work, I find his images of children and the dignity and hope he portrays within their faces the most satisfying. Reza commented that within children he sees the possibility of change, and in some small way this is the same reason that I have taken many images of children throughout my own work around the world. I love their interest, fascination and the lack of social ‘fear’ that is often so ever-present within adults. Their minds are still free of restraint and open to the possibility of change, and you can see it their eyes.

Reza’s work with AINA is to be admired and is a lesson for us all in raising awareness for those who cannot do it by themselves. He has changed people’s lives in a way that most individuals cannot ever hope to replicate. And he does this with intense modesty. He is truly one of the most inspirational characters I have ever met.

When asked what advice he would give to aspiring photojournalists, Reza answered that one must be passionate, true and to ‘never sell your soul to the devil’. In all the successful people I have met, whatever their line of work, these qualities are present; passion above all. This message came through to me throughout my Portfolio Review as well, about ‘having heart and vision’, and is a real message for the future.

It really has been a life-changing day!

Portfolio Review

I have just taken one of the most important steps in my photographic 'journey' and had a professional portfolio review at the Foto8 offices in London. I had 2 reviews, the first by Nick Galvin (Archive Director, Magnum Photos) and Harry Hardie (Manager, HOST Gallery), and the second by Monica Allende (Picture Editor, Sunday Times Magazine) and Jon Levy (Director, Foto8). It was a very nervous step for me, as it was the first time that I have opened myself to serious criticism by those who deal with the best in the business.

I chose 25 images and showed them as a 'lightbox' slide show. I chose the images to display a variety of projects and ideas that I had been working on. With hindsight, and an important note for the future, I should have displayed half of the portfolio as an exploration of ideas and half of it depicting a singular project, as all of the reviewers said that they would have liked to see how I deal with an idea within a series of images. I had the greatest impact from the B&W images that I showed, especially the 'My Norfolk' series of images and the study of 'Mother and Child' (shown below) which both stemmed from the need to document what was around me and to try and give it meaning.

All of the reviewers were enthusiastic and encouraging, especially Nick and Harry. Nick was kind enough to comment that I had a very keen 'eye' and obvious talent, and Harry likened my work to David Hurn and Tony Ray-Jones (and gave me some very useful references from both photographers to look at, especially David Hurn's 'On Being A Photographer' co-written with Bill Jay). This was high praise indeed, as I am a keen fan of both photographers.

Jon Levy's comments were extremely valuable and gave great food for thought. Of note was his advice on finding a subject that is accessible, which can be worked on over a long period of time with relative ease. He also pointed out the need to put a 'stamp' on the work - to find something that is definitively 'me' and put something of that within the images. This complemented Harry Hardie's comment that a photographer should always have an idea as to what they want to capture - even 'accidents' are opportunities that are created by the photographer because he was looking for them in the first place. By having easy access to a place, it helps the photographer to continue to go back until he captures what it is he is searching for.

All in all, the advice has given me some useful tips on editing my work and has given me an insight as to how I should conduct my practice in the future.

Rodchenko & Popova Exhibition

After submitting my last assignment for my OCA course, I received feedback from my tutor on a theoretical study that I wrote on Modernism. I had focused very much on American Modernist photographers and my tutor suggested that I may want to look at Modernism within European photography, suggesting the likes of Aleksandr Rodchenko. Taking this 'on board' I went to visit the Tate Modern exhibition, Rodchenko & Popova: Defining Constructivism.

The exhibition gave me a fascinating insight into the Constructivist movement and because it spanned the whole range of Rodchenko's work (as well as Liubov Popova and others, such as Varvara Stepanova (Rodchenko's wife)) it allowed me to place his photography into greater context; showing how his photographic ideas grew out of his experiments with painting/drawing, and his ideas on art, politics and the societal movements that were happening around him. I found his 'mechanical' ideals of artistic construction fascinating, allowing me to compare these constructions to some of the Gestalt theories of image construction/composition that I had studied within my first assignment for this course. Over the past few months I have found myself venturing into more creative, thought-provoking artistic pieces to explore ideas and concepts - mixing photographic media with drawing and other mixed media. This is an area that I will be exploring further; I have a documentary project in mind that will explore parental relationships with their children, which will be developed through photography, drawing, sound and poetry.

All in all, the exhibition allowed me to put an added dimension to the ideas that I had explored through the American Modernist photographers and has inspired me to challenge myself yet further into new areas of project development.

OCA - Assignment Two Feedback

I received my Assignment Two feedback recently and was overjoyed with the response from my tutor, especially as I had really gone out on a limb with my approach to some of the assignment work. There were some really useful comments given, which I always welcome as it forces me to think about my work more critically and pushes me into new areas of development.

I was really pleased that my tutor liked the 'Walks With My Human' (a working title) series of images, depicting the local environment from the viewpoint of my dog. Since the initial assignment work, I have taken this series much further. It has manifested into an investigation into the impact that we have on our environment, both from a 'litter' perspective, and how we interact with the wildlife in terms of control (or not) and countryside management. My dog's sense of smell has brought so many issues to my attention (for example, the amount of litter that is dropped; fly-tipping; how and where animals are culled) and I have tried to depict this within the images that I have taken. I have also spoken to local farmers and country residents on the impact of litter within the countryside and about land management, to put the images into perspective. I intend to do some formal interviews and collate the images into a book and a soundslide show, although this project is long-term (I envisage doing it over 12 months to cover all seasons and compare the effects throughout the year).

I have begun to think of my work in 'deeper' terms; that is, what is the picture actually trying to achieve. I want to tell stories through my images, and to help open up further issues. I have several projects on the go at the moment (aside from my studies) and I have a major project idea that I intend to follow for my final course with the OCA later in the year (Level 3 Photography - Advanced - leading to a BA in Creative Arts); a documentary project looking at the 'Frontline' of poverty and struggle within Britain. The wars in Iraq and Afghanistan, as important as they are for our soldiers, airmen and sailors in terms of attention and the respect they deserve, has often distracted people from the problems that are sat on their own doorsteps - as Martin Parr said to me last year after I posed a question to him at a college talk, '...you don't have to travel to a warzone to be at the Frontline...' He couldn't be more right.