BA Phot

Assignment 1, Square Mile - Text history

- images - contact sheets - tutor feedback

Required: a written analysis (max 500 words) including (a) first thoughts on the assignment; (b) how the ideas developed; (c) sources of inspiration and their effect; (d) description of technical approach and techniques deployed; (e) analysis of the "strengths and weaknesses" of the photographs submitted; (f) consideration of how the project could be developed.

Final submission text: V2.1, 17th July 2018

Word count = 497 including headings

First Thoughts

Although Welsh by birth, I did not regard myself as susceptible to Square Mile Syndrome, particularly as regards Wales, though I may have changed my mind while working on the assignment.

I have lived in Eltham, a south east London commuter town, for most of the last thirty years. Apart from the clichéd contrast between the medieval splendour of Eltham Palace and the dour housing estate a mile away where Stephen Lawrence was murdered, there is little of interest to photograph, celebrate or become attached to in Eltham. Its key quality is its proximity to central London and that is what I have explored in this Assignment: landmarks visible on a commuter's jouney from Eltham to London Charing Cross.

Inspiration & Development

I was not particularly enthused by the examples given in the course material. They, quite appropriately, embrace the Square Mile ethos that I had rather set my mind against . The "commuter town" concept was already in place when I recalled an article in an RPS Journal [1] on a Distinction panel by Robert Friel, a daily commuter.

Technical approach

Starting this course has forced me to reassess and begin to change my working practices. As noted in the blog [2] I normally post-process images significantly and that goes against the assignment instructions [3].

The requirement to submit contact sheets has also had an effect. I am taking fewer pictures and deleting in-camera in order to reduce the size of the contact sheets.

The general technical approach for the various outings undertaken and applied to particular images are explored in some detail on the web site [4].

Strengths and weaknesses

As noted in the blog [5], I mostly photograph sculpture and street art in a gallery or town: these projects are self-limiting and impose their own structure. I am not used to conceptualising a display. On an individual basis I consider the images to be adequate and some (perhaps Tower Bridge and St Martin) of merit, but they are not cohesive.

Continuation

Daidõ Moriyama has stated, "As I get older with the camera in my hand, I realize that all the different things that I depict in my photographs are ultimately rooted in my childhood memories, the various things I have seen and experienced in the postwar years of the early 1950s." [6]

When next in Wales, I will photograph my Filltir Sgwar, likely to comprise:
(i and ii) my family home (recently sold) and my grandmother's house ;
(iii) my infants and junior school (demolished several years ago and a vacant building plot last time I saw it);
(iv and v) the junor and senior high schools (grammar schools were abolished the year I first attended);
(vi) the church where I was taken more often than I liked until a youthful rebellion.

I have an idea for a local project (although this could be undertaken equally well in any suburban environment): Eltham churches and congregations - photographed when leaving after Sunday morning services.

References

[1] The article is reproduced on the RPS web site, http://rps.org/member/gallery/distinctions-distinctions-album/Associate-Fine-Art-Portfolio---Robert-Friel-ARPS [accessed 16th July 2018].
[2] Blog entry 22nd June, http://baphot.greented.co.uk/main/blog.php#jun22 [accessed 16th July 2018].
[3] Expressing your Vision (2017), Course Material, p.13, OCA, Barnsley.
[4] Assignment 1, Square Mile - images, http://baphot.greented.co.uk/pages/square_mile_images.php [accessed 16th July 2018].
[5] Blog entry 14th July, http://baphot.greented.co.uk/main/blog.php#jul14 [accessed 16th July 2018].
[6] Record No. 38 (2018), Daido Moriyama, Akio Nagasawa Publishing, Tokyo, Japan.


Final submission text: V2.0 17th July 2018

V.1 word count = 776 - 276 to lose, i.e 36%
V.2 first pass = 525 plus headings
V.2 second pass = 499 including headings

First Thoughts

word count V.1 = 155, V.2 = 118

Although Welsh by birth, I did not regard myself as susceptible to Square Mile Syndrome, particularly as regards Wales, though I may have changed my mind while working on the assignment.

I have lived in Eltham, south east London commuter town, for most of the last thirty years. Apart from the clichéd contrast between the medieval splendour of Eltham Palace and the dour housing estate a mile away where Stephen Lawrence was murdered, there is little of interest to photograph, celebrate or become attached to in Eltham. Its key quality is its proximity to central London and that is what I have explored in this Assignment: landmarks visible on a commuter's jouney from Eltham to London Charing Cross.

Inspiration & Development

word count V.1 = 79, V.2 = 58

I was not particularly enthused by the examples given in the course material. They, quite appropriately, embrace the Square Mile ethos and I had rather set my mind againt that. The "commuter town" concept was already in place when I recalled an article in the RPS Journal [1] on a Distinction panel by Robert Friel, a daily commuter.

Technical approach

word count V.1 = 164, V.2 = 87

Starting this course has forced me to reassess and begin to change my working practices. As noted in the blog [2] I normally post-process images significantly and that goes against the assignment instructions [3].

The requirement to submit contact sheets has also had an effect. I am taking fewer pictures and deleting in-camera in order to reduce the size of the contact sheets.

The general technical approach for the various outings undertaken and applied to particular images are explored in some detail on the web site [4].

Strengths and weaknesses

word count V.1 = 128, V.2 = 61

As noted in the blog [5], I mostly photograph sculpture and street art in a gallery or town: these projects are self-limiting and impose their own structure. I am not used to conceptualising a display. On an individual basis I consider the images to be adequate and some (perhaps Tower Bridge and St Martin) of merit, but they are not cohesive.

Continuation

word count V.1 = 239, V.2 = 201, second pass = 176, third pass = 164

Daidõ Moriyama has stated, "As I get older with the camera in my hand, I realize that all the different things that I depict in my photographs are ultimately rooted in my childhood memories, the various things I have seen and experienced in the postwar years of the early 1950s." [6]

When next in Wales, I will photograph my Filltir Sgwar, likely to comprise:
(i and ii) my family home (recently sold) and my grandmother's house ;
(iii) my infants and junior school (demolished several years ago and a vacant building plot last time I saw it);
(iv and v) the junor and senior high schools (grammar schools were abolished the year I first attended);
(vi) the church where I was taken more often than I liked until a youthful rebellion.

I have an idea for a local project: Eltham churches and congregations - photographed when leaving at the end of Sunday morning services. (This could be undertaken equally well in any suburban environment. )

References

[1] The article is reproduced on the RPS web site, http://rps.org/member/gallery/distinctions-distinctions-album/Associate-Fine-Art-Portfolio---Robert-Friel-ARPS [accessed 16th July 2018].
[2] Blog entry 22nd June, http://baphot.greented.co.uk/main/blog.php#jun22 [accessed 16th July 2018].
[3] Expressing your Vision (2017), Course Material, p.13, OCA, Barnsley.
[4] Assignment 1, Square Mile - images, http://baphot.greented.co.uk/pages/square_mile_images.php [accessed 16th July 2018].
[5] Blog entry 14th July, http://baphot.greented.co.uk/main/blog.php#jul14 [accessed 16th July 2018].
[6] Record No. 38 (2018), Daido Moriyama, Akio Nagasawa Publishing, Tokyo, Japan.


Final submission text: V1.0 17th July 2018 - word count 776

First Thoughts

Although Welsh by birth, I did not regard myself as susceptible to Square Mile Syndrome, particularly as regards Wales, when first thinking about this assignment. I may have changed my mind while working on it.

I have lived in Eltham, south east London, for most of the last thirty years. Although the location of a medieval settlement, it was developed in the Victorian era, with the coming of the railways, as a commuter town, and so it remains.

Apart from the clichéd contrast between the medieval and art deco splendour of Eltham Palace (now £15 to visit) and the dour housing estate a mile away where Stephen Lawrence was murdered, there is little of interest to photograph, celebrate or become attached to in Eltham. Its key quality is its proximity to central London and that is what I have explored in this Assignment: landmarks visible on a commuter's jouney from Eltham to London Charing Cross.

Inspiration & Development

I was not particularly enthused by the examples given in the course material. They, quite appropriately, embrace the Square Mile ethos and I had rather set my mind againt that at the outset. The "commuter town" concept was already in place when I recalled an article in the RPS Journal [1] on a Distinction panel by Robert Friel, a daily commuter. Although not inclined towards the impressionistic images used by Friel, that example gave some legitimacy to the idea.

Technical approach

Starting this course has forced me to reassess and begin to change my working practices. As noted in the blog [2] "instructions for Assg1 include 'keep to basic image corrections (at least for assignment work), without significantly changing the image as seen through the camera viewfinder' [3]. This is something of an issue as my default is to bracket exposures, HDR where useful, straighten and crop most shots and add a frame to the final version. I'll turn off the bracketing, but I'll stick with frames unless told not to."

The requirement to submit contact sheets has also had an effect. I am taking fewer pictures and deleting in-camera (a process I find very hard to do) in order to reduce the size of the contact sheets.

I am not convinced that either of these changes are for the better.

The general technical approach for the various outings undertaken and applied to particular images are explored in some detail on my web site [4].

Strengths and weaknesses

As noted in the blog [5], "I am not used to constructing a connected series of images. With previous sculpture projects, the narrative and scope are implicit in the venue, such as a gallery, a town or a walk. They are self-limiting and impose their own structure.
There is also the aesthetic aspect of combining sets of images which I have never been required to do in the past. RPS distinction board reviews never fail to mention the "hanging plan", to take examples from the current issue: '[the] layout of the portfolio was well balanced'; '[the] panelling is well thought through'." [6]
On an individual basis I consider the images to be adequate and some (perhaps Tower Bridge and St Martin) of merit, but they are not cohesive.

Continuation

The Japanese photographer Daidõ Moriyama has stated, "As I get older with the camera in my hand, I realize that all the different things that I depict in my photographs are ultimately rooted in my childhood memories, the various things I have seen and experienced in the postwar years of the early 1950s." [7]

When next in Wales for a funeral, I will photograph my Filltir Sgwar and it is likely to comprise: (i) the house where I was born and raised (recently sold); (ii) my grandmother's house where I spent some of my childhood and lived for a while in my 20s; (iii) my infants and junior school, demolished several years ago and a vacant building plot last time I saw it; (iv and v) the junor and senior high schools where I witnessed the abolition of grammar schools in Wales in the 1960s; (vi) the church where I was taken more often than I liked until a youthful rebellion.

I have had an idea for a local project too: Eltham churches and congregations - photographed when leaving at the end of Sunday morning services. This does not evidence and local affinity as it could be undertaken equally well in any suburban environmemt. I am undecided whether to just turn up and risk a suspicious reaction or write to the churches to alert them of my intention (and also find out what time services are likely to end.

References

[1] The article is reproduced on the RPS web site, http://rps.org/member/gallery/distinctions-distinctions-album/Associate-Fine-Art-Portfolio---Robert-Friel-ARPS [accessed 16th July 2018].
[2] Blog entry 22nd June, http://baphot.greented.co.uk/main/blog.php#jun22 [accessed 16th July 2018].
[3] Expressing your Vision (2017), Course Material, p.13, OCA, Barnsley.
[4] Assignment 1, Square Mile - images, http://baphot.greented.co.uk/pages/square_mile_images.php [accessed 16th July 2018].
[5] Blog entry 14th July, http://baphot.greented.co.uk/main/blog.php#jul14 [accessed 16th July 2018].
[6] RPS Journal July 2018 pp. 479, 482.
[7] Record No. 38 (2018), Daido Moriyama, Akio Nagasawa Publishing, Tokyo, Japan.


Drafts

I had expected to tinker with the text throughout this assignment, while working on the images. In reality, I toyed with the introduction and conclusion but have left the remaining components until the end.

First thoughts - Development - Inspiration - Technical approach - Strengths and weaknesses - Continuation

First thoughts

V3 16Jul18

Although Welsh by birth, I did not regard myself as susceptible to Square Mile Syndrome, particularly as regards Wales, when first thinking about this assignment. I may have changed my mind while working on it.

V2 30Jun18

Although Welsh by birth, my visits to the Pricipality are occasional, mostly ceremonial and and those largely funereal: I am not susceptible to Square Mile Syndrome. too pompous.

1st draft 24Jun18

I was immediately uneasy with the idea of Y Filltir Sgwar, The Square Mile. Welsh by birth, I have avoided the Principality whenever possible for more than thirty years. Had the notion been, say, French, Les Hectares Carré, I would not have had this subjective issue, but there would still be a problem with the objective. too negative.

I have lived in Eltham, south east London, for most of the last thirty years. Although the location of a medieval settlement, it was developed in the Victorian era, with the coming of the railways, as a commuter town, and so it remains.

Apart from the clichéd contrast between the medieval and art deco splendour of Eltham Palace (now £15 to visit) and the dour housing estate a mile away where Stephen Lawrence was murdered, there is little of interest to photograph, celebrate or become attached to in Eltham. Its key quality is its proximity to central London and that is what I have explored in this Assignment: landmarks visible on a commuter's jouney from Eltham to London Charing Cross.

Inspiration & Development

V1 16Jul

I was not particularly enthused by the examples given in the course material. They, quite appropriately, embrace the Square Mile ethos and I had rather set my mind againt that at the outset. The "commuter town" concept was already in place when I recalled an article in the RPS Journal [1] on a Distinction panel by Robert Friel, a daily commuter. Although not inclined towards the impressionistic images used in that case, hat example gave some legitimacy to the idea.

Technical approach

V1 16Jul

Starting this course has forced me to reassess and begin to change my working practices. As noted in the blog [2] "instructions for Assg1 include 'keep to basic image corrections (at least for assignment work), without significantly changing the image as seen through the camera viewfinder' [p.13]. This is something of an issue as my default is to bracket exposures, HDR where useful, straighten and crop most shots and add a frame to the final version. I'll turn off the bracketing, but I'll stick with frames unless told not to."


The requirement to submit contact sheets has also had an effect. I am taking fewer pictures and deleting in-camera (a process I find very hard to do) in order to reduce the size of the contact sheets.
I am not convinced that either of these changes are for the better.
The general technical approach for the various outings undertaken and applied to particular images and explored in some detail on my web site [3].

Strengths and weaknesses

V1 16Jul

As noted in the blog [4], "I am not used to constructing a connected series of images. With previous sculpture projects, the narrative and scope are implicit in the venue, such as a gallery, a town or a walk. They are self-limiting and impose their own structure.
There is also the aesthetic aspect of combining sets of images which I have never been required to do in the past. RPS distinction board reviews never fail to mention the "hanging plan", to take examples from the current issue: '[the] layout of the portfolio was well balanced'; '[the] panelling is well thought through'." [5]
On an individual basis I consider the images to be adequate and some (Tower Bridge and St Martin) of merit, but they are not cohesive.

Continuation

V1 30Jun18

[written at the same time as V2 of the first thoughts]
The Japanese photographer Daidõ Moriyama has stated, "As I get older with the camera in my hand, I realize that all the different things that I depict in my photographs are ultimately rooted in my childhood memories, the various things I have seen and experienced in the postwar years of the early 1950s." [6]
When next in Wales for a funeral, I will photograph my Filltir Sgwar and it is likely to comprise: (i) the house where I was born and raised (recently sold); (ii) my grandmother's house where I spent some of my childhood and lived for a while in my 20s; (iii) my infants and junior school, demolished several years ago and a vacant building plot last time I saw it; (iv and v) the junor and senior high schools where I witnessed the abolition of grammar schools in Wales in the 1960s; (vi) the church where I was taken more often than I liked until a youthful rebellion.

see blog 14Jul on church congregations

References

[1] The article is reproduced on the RPS web site, http://rps.org/member/gallery/distinctions-distinctions-album/Associate-Fine-Art-Portfolio---Robert-Friel-ARPS [accessed 16th July 2018].
[2] Blog entry 22nd June, http://baphot.greented.co.uk/main/blog.php#jun22 [accessed 16th July 2018].
[3] Assignment 1, Square Mile - images, http://baphot.greented.co.uk/pages/square_mile_images.php [accessed 16th July 2018].
[4] Blog entry 14th July, http://baphot.greented.co.uk/main/blog.php#jul14 [accessed 16th July 2018].
[5] RPS Journal July 2018 pp. 479, 482.
[6] Record No. 38 [2018], Daido Moriyama, Akio Nagasawa Publishing, Tokyo, Japan.

Page created 17-Jul-2018 | Page updated 24-Sep-2018