BA Phot

I&P Part 2 Exercise 2.2

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Project 2.1 The unaware - Exc 2.1 - Project 2.2 The aware - Exc 2.2 - Exc 2.3 - Exc 2.4 - Conclusion - Upsum

Avedon - Callahan - Cariou - diCorcia - Evans - Frank - Funch - Germain - Gilden - Kuzma - Meadows - Parr - Penn - Prince - Strand - Weegee - Wood -

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Preamble - Part 1 - Part 2 - Part 3 - Part 4 - Part 5 - Asg.1 - Asg.2 - Asg.3 - Asg.4 - Asg.5 - C&N - EyV

Covert

Approach this exercise with care and a diligent awareness of health and safety both for yourself and others.
Closely consider the work of the practitioners discussed above, then try to shoot a series of five portraits of subjects who are unaware of the fact they are being photographed. As you’ve seen, there are many ways in which you can go about this, but we can’t stress enough that the objective here is not to offend your subjects or deliberately invade anyone’s privacy. If you don’t have permission to shoot in a privately-owned space, then you should only attempt this work in a public space, where permission to shoot is not necessarily required.
This is a very interesting challenge, which some students will find incredibly difficult. Remember that the creative outcome of the practitioners discussed above has come about through a sustained approach, which is then heavily edited for presentation. You’ll need to shoot many images in order to be able to present five final images that work together as a set.
Think everything through carefully before attempting this exercise as the responsibility for the outcome of the portraits rests entirely with you. If during the course of this exercise you are challenged in any way, be prepared to delete what you have shot. If you can see that you are annoying someone, or making them feel uncomfortable, stop shooting immediately. You’ll be required to operate with a degree of common sense here and not take unnecessary risks. There are ways of completing this exercise without incurring risk, such as shooting the work at a party you’ve been invited to, where all the guests have been invited for a particular celebration.
The reflection about your methodology (your approach to how you have achieved the images in relation to why you chose what you have chosen), will be as important as the final five images, so be prepared to write about how you found the experience (around 500 words) and present your findings via your learning log or blog. I&P p.64

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Initial thoughts

Ex 4.2
Box A
EyV Part 4

[11Nov20] During EyV I noted (fig. A1) that my local McDonald's at dusk had a faint air of Edward Hopper's Nighthawks and I had at the back of my mind running with a selection of such images for this exercise. But now all the cafes and fast food emporia are closed for a month, even for outside tables. Back to the drawing board.

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Box B
Rocky's 45° mirror
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I have always been tempted to photograph people sitting on benches waiting for trains. I raised this during C&N, reminiscing about doing the same in the 70s while commuting from Cardiff to Newport (and to Bristol if I fell asleep). I mentioned in the course notes for Part 2 the 45° mirror lens attachment for covert photography, sold decades ago. I contacted Keith Rock ('Rocky' the s/h camera dealer) and he dug one out for £15 (fig. B1): tragically, he has terminal cancer, but is still trading at the moment. That should be here soon and I'll see what it fits.

And don't forget Peter Funch's repeated photographs of commuters on the same NY street location and time and his search for the same people on different days.

The comment, "The reflection about your methodology (your approach to how you have achieved the images in relation to why you chose what you have chosen), will be as important as the final five images, so be prepared to write about how you found the experience (around 500 words) and present your findings via your learning log or blog" is important — regular readers will be aware of my views on street photography aand its ill-use.


5th December

[8Dec] A first wander with the X-T4, replacing the X-T2 and without the right angle attachment. The probable location and subjects will be exterior customers at an Eltham cafe. It would be easy to rattle off five images to tick the box, but I will regard it as an opportunity to explore techniques, particularly the right-angle finder. The contact sheet for 5th Dec is below and it also incorporates an idea for Exc. 2.4..

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Exc. 2.2 Exc. 2.2 Exc. 2.2 Exc. 2.2
Box C
1. Contact sheet 5th December
2-4. Cafe, 5th December
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I&P Exc x.y References

Boothroyd, S. and Roberts, K. (2019) Identity and place [I&P]. Barnsley: Open College of the Arts.

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Page created 11-Nov-2020 | Page updated 31-Dec-2020