People & Place

Rob Townsend's OCA Learning Log


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Assignment 5: tutor feedback

I’ve had the tutor report on this for a couple of weeks now but have been getting stuck deep into Context & Narrative and neglected to close this one off properly until now.

Given that I felt this was the most difficult assignment to date I was very keen to get an objective perspective on it. I was half-expecting a more critical response but thankfully it’s come across as more of a ‘qualified success’ than a ‘noble failure’…!

A few extracts from the Overall Comments section (and the opening and closing comments from the main analysis):

“I can see the dedicated work that you have gone into, to take these images and the result demonstrates this as a body of work exploring your idea. You have done some good research into a large variety of photographers and this has informed your approach. […] The reflection you provided is honest and searching and you are developing your own personal style.”

“You have engaged in the idea of exploring a theme and were experimental in the assignment task. […] You have really challenged yourself and been disciplined in the techniques you explored and your attention to detail shows as this body of work has a good harmony with the consistent lighting and colour palette.”

“The work presented hangs together well as a body of work.”

“Keep having fun when taking your images, as there is a becoming a real sense of that humor and irony in your work.”

I’m very pleased with this feedback – especially the opinion that it hangs together well (I was concerned about this) and the emerging sense of humour (something I don’t consciously aim for but admire in others). I do wonder whether the assessor/s will be quite as understanding…!?

Now follows brief comments per image and my reaction to them:

1. Sweet Shop

Sweet Shop

Sweet Shop

  • “A simple typographical study of the sweet jars provides a visual rhythm that is pleasing. There is a slight reflection in the glass and as it is white and falls across a dark jar it is slightly noticeable. I don’t think it greatly detracts from the image though. The colors work well here with the gentle lighting.”
  • I hadn’t noticed the reflection before but see it now; I’m happy to leave the image as-is

2. Charity Box

Charity Box

Charity Box

  • “This image does make you smile and the passing dog wandering in behind makes it. This is quite closely cropped top and bottom and depending on the outcome this might limit the usability. I mean in the sense of layout options as it becomes a format that is less usual.”
  • Glad the passing dog worked – I needed a juxtaposition to make this image sufficiently interesting
  • Hadn’t considered the tight crop being a problem; from memory I cropped so tight due to distractions at the edge of the original framing

3. Phone Box

Phone Box

Phone Box

  • “This image has quite a different feel to the previous two as the other images are quite timeless and yet this one really demonstrates a changing environment. The stark colours work well and the person wandering out of the frame further implies being left behind. The print is very crisp and clear and the detail of the graffiti and stickers shows how unused this box is. The print does become slightly blown out on the far right.”
  • Very pleased that the composition of this worked and got across the intended message; my ideal composition was to have someone passing using a mobile phone, but that didn’t happen in the time I had available… the ‘walking away’ image is a good second best
  • I was aware of the blown highlights and tried to rescue them as best I can

 4. Phone

Phone

Phone

  • “I like your intent with this image, the more active idea of it being in use. I do find the angle a little unusual. All your other images are measured and very straight vertically and horizontally so this does look out of kilter with them. The image does have a nice colour and as you say the brown atmosphere fits that time.”
  • This comment on the angle presents an interesting dilemma; I started with a very straight-on shot of the phone but it looked too static so I changed to this shot in use. I do see the point about inconsistency but remain unsure whether to select a different shot (or reshoot) in this instance

5. Milk Float

Milk Float

Milk Float

  • “Again a measured observation, the print is very clear and in focus. I didn’t see it instantly as a milk float but the number plate and Dairy Farmers of Britain logo gives the hint and also parked in a weedy yard speaks about its abandonment.”
  • I thought it was evident it was a milk float but the feedback is a good reminder that not everyone immediately sees what you want them to see!

6. Milk Bottle

Milk Bottle

Milk Bottle

  • “The milk bottle is very subtle in this image! The whole scene does give the impression of disrepair and neglect. I would suggest it is closely cropped and not quite straight so it looks a little forced. The print looks almost painterly with the paint texture on the door.”
  • I was OK with the bottle being subtle, although I do have an alternative shot with a different viewpoint and tighter framing so that the bottle is more prominent
  • I thought I’d got it straight so will revisit the master file to see what I can tweak – or may swap it out for the alternative shot mentioned above

7. Mini

Mini

Mini

  • “The mini does really have an iconic look and does say so much. I did wonder what the man was doing looming over the car, I wondered if he was patting it or thinking about how to break into it! I wonder if this could be cropped so the slightly distracting white pvc conservatory was not so prominent?”
  • This comment made me smile! He’s supposed to be cleaning it – to denote pride…  but as per the milk float it reminds me that the viewer doesn’t always have the reaction that matches my intent
  • Spot on re the conservatory; I was trying to keep the images to the same ratio and this framing initially felt right, but I will go back and re-crop as suggested

8. Pint Pot

Pint Pot

Pint Pot

  • “Again another icon, it does look a little on a lean? The addition of the person holding a bottle in behind also infers a change so that further supports the idea.”
  • As per the phone, the lean was deliberate… was trying to invoke the feeling of being in a pub! (it was actually staged at home, and that’s me in the background…)

9. Cobbles

Cobbles

Cobbles

  • “This image does document the cobbles and the curve and selective focus works but would suggest this image is not as interesting although in the example of a magazine article this could be useful to lay text over.”
  • I concede I did struggle with how to make cobbles more interesting

10. Flat Cap

Flat Cap

Flat Cap

  • “This is a clean and crisp portrait, I love his outfit and he does look rather dapper. It is nice to see an image with a person involved. The print for this works very well and the lighting is very gentle and a great foil against the dark background. I like to see a person as this adds to the story but I wonder if it then makes me want to know that person’s story? The other images have traces of people but they are more about the item and the environment. Just a thought.”
  • I really wanted to have more people in the set actually; one idea was to feature professions, but that faltered due to lack of material
  • With hindsight, I could have focused more on the hat and made it less of a portrait

So in all, an encouraging set of feedback for what I felt was my weakest assignment. I do think I’ll go back and tweak and/or replace a couple of the images, but will leave that until I have the big pre-assessment tidying up exercise. I think I need to put a bit of distance between me and the P&P assignments and come back with a fresh pair of eyes in a month or two.


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Assignment 5: Disappearing Britain

Brief:

The full (fictional) brief is written up here but in summary, the main points are as follows:

Provide 8-10 images (4-5 will be selected) that meet the following criteria:

  • Common 10-20 years ago, rare now
  • Particular (though not necessarily unique) to Britain
  • Reason for obsolescence is one of following factors:
    • Technological progress (engineering, IT etc)
    • Economic progress (capitalism, globalisation, infrastructural etc)
    • Social progress (behavioural norms, demographic shifts etc)
  • A combination of subject types, such as (not limited to):
    • Public objects
    • Private objects
    • Professions

Produce images that are creative and visually engaging in composition and style – otherwise we could just go to a stock library! The article is as much about the images as the words.

Submissions:

UPDATE FOR ASSESSMENTtutor report and my response are now available to view.

Larger images and contact sheets are available as a downloadable zip file.

My intention with the set of images is twofold:

  • Cataloguing: to record these objects now for future viewers, as artefacts of British life in the 20th century
    • These subjects were chosen against the brief of ‘disappearing’ (or become obsolete, or extinct) and I see this series as a form of ‘virtual museum’ of impending British obsolescence. I thought of it as capturing them before they disappear – “last chance to see”
  • Remembering: to trigger memories in contemporary viewers of objects from our shared British past
    • My secondary objective is that any viewer of my generation (born in the 1970s or 1980s, raised in Britain) will not only recognise but have some association with these subjects. I’m aiming to conjure up a sense of Britishness (à la Assignment 4), but a sense of Britishness associated with a collective past, rather than a contemporary depiction

I examined the different views on these objects that could be taken by contemporary and future viewers in a research and reflection blog post. First, a gallery view showing all the images as a set.

Now follows a brief analysis per image:

1. Sweet Shop

Dedicated sweet shops stocked with shelves of jars are becoming a thing of the past, superseded by newsagents, convenience stores and supermarkets. Whilst I found local examples of deliberately retro sweet shops that have opened up to ride the wave of nostalgia, here I found an original example of the genre, still quietly plying its trade of “a quarter of…” to the local school children (but only five in the shop at any one time…!)

Sweet Shop

Sweet Shop

2. Charity Box

I may be going out on a limb here in terms of whether this is an object that many people would associate with a bygone era, but for me it holds strong connotations of 1970s/1980s Britain, as such collection boxes were certainly common in the north-west of England. I had this specific guide dog design in mind and looked for several weeks until I saw one in a farm shop yard. Getting the juxtaposition with the passing dog was a bonus.

Charity Box

Charity Box

3. Phone Box

This was the iconic British image that triggered the idea. I must have taken more photos of phone boxes than everything else put together (they are more common than I thought, which maybe undermines the conceit). However, until I found this abandoned one I didn’t have an image that actually had any context or inherent narrative. I liked the fact that this had found a new use as a kind of community notice board… so from one type of ‘communication point’ to another, albeit even more primitive! An even better juxtaposition might have been to catch someone using their mobile phone in the vicinity but unfortunately in the time I had, I wasn’t that lucky.

Phone Box

Phone Box

4. Phone

In the construct of the fictional magazine brief, I’d suggest that either the phone box or the phone should be selected for the final article, but not both. In this shot I wanted to depict a first-person viewpoint, inviting the viewer to imagine (and indeed remember) using such a device. I was pleased to find a brown example, as in my mind brown is the colour I associate with the 1970s.

Phone

Phone

5. Milk Float

The milk float was a peculiarly British invention: the practice of having milk delivered was more common in Britain than anywhere else, and the specific battery-operated vehicle designed for the purpose was unique to us; in 1967 Britain apparently had more electric vehicles than the rest of the world put together. Ironically, electric vehicles are now seen as a symbol of innovation and the future, so Britain was ahead of its time (albeit limited to 16mph…). Along the lines of the phone box shot, here I wished to depict the milk float in a state of disuse; abandoned and unloved in a yard on an industrial estate. This is intended to evoke a connection with the independent dairy industry being made obsolete by the supermarkets.

Milk Float

Milk Float

6. Milk Bottle

As with the phone / phone box, I’d suggest that either this or the milk float be used as a subject in the magazine article, but not both. Like many of these items, the milk bottle is an iconic design its own right, and one that is increasingly rare. In this image I wanted the bottle to be a secondary focal point after the viewer has taken in the general scene of the door. The state of disrepair of the door holds some kind of analogy of neglect that it shares with the milk bottle design; they both belong to another age.

Milk Bottle

Milk Bottle

7. Mini

Another personal connection, as my first car was a Mini. The original Mini was recently voted the greatest British car design ever, and its BMW replacement is a pale (oversized) imitation of the design classic. Here I wanted to get over two things: firstly, the diminutive scale of the thing (striking in real life but not sure how well it translates here), and secondly, the care the owner takes of it, like he’s preserving a little piece of British history.

Mini

Mini

8. Pint Pot

There was a time when every pint of beer in Britain was served in such a sturdy container, but I guess for reasons of cost (or maybe health and safety) they had to die out. I was pleased to find one that had branding from an old London establishment, even though I spotted this in Yorkshire. Maybe they are in such short supply that people seek them out.

Pint Pot

Pint Pot

9. Cobbles

Cobbles were commonplace in my (northern England) childhood, on every back alley and a surprising number of residential streets. Now they are anachronistic, usually only seen on Coronation Street on television. At the seaside I spotted a stretch of cobbles that curved nicely to form a pleasing compostion. Of the many options I had on this shot, I chose the one with the old man at the peak of the shape, so that your eye is drawn to him. It seems to me to be analogous to looking back to the past.

Cobbles

Cobbles

10. Flat Cap

The wearing of flat caps by men is something that I’ve seen die out in my lifetime. This is subtly different to the practice of hat-wearing in Britain generally, which has been in decline since the 1950s; the flat cap specifically has northern English and/or working class connotations, and was a common sight even on working men in their twenties in my youth. I was delighted to see this chap wearing his very proudly in my home town.

Flat Cap

Flat Cap

Self-evaluation:

This assignment pushed me out of my comfort zone far more than any of the others. I deliberated (both before and after making the decision on the brief) as to whether to make the final assignment a continuation of my style/preference (put simply, candid portraiture) or a departure. I chose to make it a departure and wrestled with this decision throughout. During the assignment I went from being unhappy with my work, to being uncertain, to eventually being sufficiently content. I’m still not wholly sure to be honest – I see this end result as somewhere between a flawed success and a noble failure! Specifically, I struggled somewhat with making the images match my visualisations. I had what I thought were good subject ideas but in the limited time available to do the assignment I did have issues aligning the following:

  • finding the subjects themselves
  • finding them in locations where I could revisit at the time of my choosing
  • finding them in the right weather and lighting conditions
  • being able to get the distinctive compositions I wanted – specifically, to incorporate the subjects in a wider setting that helped get over the message I was aiming for (juxtaposition with other elements, objects in use by people etc)

This is not to say that the concept itself was fundamentally flawed, rather that I overestimated my ability to find and capture the subjects I wanted in the eight weeks or so I gave myself for the assignment. For example, I wanted originally to include disappearing professions (e.g. coal man, rag and bone man etc) but did not find such subjects in the time available. I may actually continue on the project beyond the assignment deadline, as I feel it may work better if I allow myself the time to find the most interesting subjects and settings.

Assessment criteria

Evaluating the outcome against the Assessment Criteria:

  • Demonstration of Technical and Visual Skills:
    • Technically I’m happy with the quality of the images; one (Milk Bottle) I took with a ‘non-serious’ (small sensor) camera with the intention of returning with better equipment, but every time I’ve been back there’s been no milk bottle, so I ended up using what was meant to be a test shot; looking closely you can tell the quality difference
    • From a stylistic point of view, I chose early on not to use black and white, sepia or any other vintage effect, as I am depicting these subjects in the contemporary age, at this (late) point in their lifespans. I wanted to depict the subjects strongly and clearly, in good light wherever possible – to make them look as ‘real’ as possible
    • Shooting over a long period of time, in different conditions, with different types of subject, I feared that the set might not hang together as a coherent whole; I’ve arrived at the conclusion that whilst the set is eclectic, the commonality in the underlying story of the subject matter dying out is (just about) enough to hold the set together conceptually
    • I used a range of shooting angles and focal lengths in order to inject some visual variety; where possible I tried to incorporate other elements in the frame to provide context, or a juxtaposition/counterpoint
    • As I find myself doing increasingly these days, I tried to pay attention to the geometry of my pictures – leading lines, shapes, giving the eye a path around the image etc
  • Quality of Outcome:
    • As noted in the summary text above, I’m less satisfied with the quality of the outcome of this assignment than previous ones
    • Some individual images I am very happy with, others I know in my heart of hearts don’t represent my best work, but I took the pragmatic decision to complete the assignment rather than agonise for weeks or months
    • My indecision and lack of confidence in the work in progress possibly tainted my view on the work, and maybe I’ll never be totally happy with it so should just move on!
  • Demonstration of Creativity:
    • This is an area where I believe I set myself something of a challenge from the start (some of my rejected Assignment 5 ideas were much more ‘conceptual’ in nature, but I ended up backing away from these ideas)
    • Given the everyday nature of the subjects, I tried to be creative in execution: choice of composition etc – but am not wholly convinced that this is really the case
  • Context:
    • A few books that I’ve owned for a while were revisited as part of my subject matter research: ‘Portrait Of An Era: An Illustrated History of Britain’ [1], ‘Britain’s First Photo Album’ [2] and ‘Retronaut’ [3]
    • I’ve also been a frequent visitor to the local flea market, antique shops and charity shops
    • While I was out shooting, I listened to the audiobook of Bill Bryson’s ‘Notes From A Small Island’ [4] as this is kind of a love letter to a changing Britain as seen through the eyes of an outsider; it gave me a few subject ideas
    • In terms of photographic inspiration, there are four particular photographers that keep coming back to mind: Saul Leiter, Robin Maddock, Robert Frank and Martin Parr; I covered this in more detail in this prep post
    • As a side note, I’m finding that I can be inspired by photographers without wishing to emulate their style; increasingly it’s an understanding of what they were trying to achieve rather than specifically how they did it
    • In terms of the conceptual side of the assignment, as noted in the introduction, I undertook this brief with two parallel viewing timelines in mind:
      • Future viewers seeing these images as ‘catalogued specimens’ of lost British icons
      • Contemporary viewers seeing these images as ‘memory triggers’ from a generation’s shared past
    • I wrote about my research into this area in more detail in a separate blog post, touching on some of the theories and observations of Sontag [8], Barthes [9] and Clarke [10], along with the contemporary project Useful Photography [11]
    • The compendium Street Photography Now [12] and specifically the essay ‘No Ideas But In Things’ was useful as background; the essay is about the use of ‘found still life’ in street photography, which has parallels with this work
    • Last but not least, I researched how to do research (!) with the help of the Anna Fox / Natasha Caruana book Behind the Image [13]; this gave me some precedents and frameworks in which to carry out my subject research

To summarise: This has been the most challenging assignment on People & Place by far, possibly because of the choice of subject I gave myself. However, in a way it’s been the most fulfilling journey, as I made a decision to get out of my comfort zone, experienced the discomfort and came out the other side! Also, the more ‘conceptual’ side of the assignment – the examination of photography as cataloguing, as a proxy for memory, along a continuum of viewing on a timeline – I found to be genuinely fascinating to research and reflect upon.

  1. Gardiner, J. et al (2011) Portrait of an era: an illustrated history of Britain. London: Reader’s Digest
  2. Sackett, T. (2012) Britain’s first photo album. London: BBC Books
  3. Wild, C. (2014) Retronaut. Washington: National Geographic
  4. Bryson, B. (1996) Notes from a small island. London: Corgi
  5. Maddock, R. (2014) III. London: Trolley Books
  6. Frank, R. (2008) The Americans: special edition. Gottingen: Steidl
  7. Parr, M. (2012) The last resort. Stockport: Dewi Lewis
  8. Sontag, S. (1979) On photography. London: Penguin
  9. Barthes, R. (1980) Camera lucida: reflections on photography. London: Random House Vintage
  10. Clarke, G. (1997) The photograph. New York: Oxford University Press
  11. http://www.usefulphotography.com (accessed 19/12/2014)
  12. Howard S. & McClaren S. (2010) Street photography now. London: Thames & Hudson
  13. Fox, A. & Caruana, N. (2012) Behind the image. Lausanne: AVA