Following on from an intensive week of portfolio reviews and feedback on my work, I am beginning to consider where the next point of development lies in terms of my approach. Of late, I feel that I had developed my approach to creating portraits and I feel that I’m at a point where I feel at ease in making them in most situations. In recent weeks I have made the transition from shooting with a 24mm lens to a 35mm. This change has led to my work generating a little more atmosphere however my approach essentially remains the same. I did feel happy with this however when attending a group critique with Paul Clements, having reviewed a collection of my work his observations were that my current practice was. a little safe. Again I took the feedback with a positive attitude and on reflection I completely agree with his observation. That’s not to say that being safe is a bad thing as I do feel my portrait work has become clean and tidy and quite carefully considered.

As a result, I am pleased that I have arrived at this stage as I’ve needed to work extremely hard to get to this stage but at the same time, who wants to make work that is safe? Not me.

In terms of developing my practice I subsequently ordered Michele Sank’s photo book ‘The Water’s Edge’. Having read the essay by Lacey, I begun to look at the portrait photographs made by Sank. Initially I was unsure of the work in a technical sense, not about the quality as I think the photographs work very well in relation to the subject matter. However, as someone who is now familiar with Sank’s later work the difference and evolution is evident. My first observation is regarding the choice of shot. Within this book, the photographs mostly crop below or above the knees. I notice this as I have had my own journey with this type of shot. Moving away from a mid shot to include the whole body of a subject then eventually moving back towards excluding lower parts of the body. The continuing use of this approach I feel moves the work towards an example of typology. At this stage of the post I need to acknowledge the work of august Sander here with an emphasis on the idea of ‘collecting’ however, when thinking about the observation made by Paul Clements and being ‘safe‘ I need to consider my response in terms of my future direction as opposed to highlighting a stall in development.

Going back to Sank’s work in The Water’s Edge, I feel the real strength of the work is the subtle gestures made by the sitters which hint at their working class roots, almost with a sense of melancholy which I associate with my own upbringing in a similar place with similar people. It then occurred to me that the photographs in this book stimulate my thoughts in a way described by Bate as ‘projection’. He suggests ‘In projection, a viewer can implant their own feelings in a portrait photograph even though it seems as if these meanings come from the actual portrait.’ In the case of the water’s edge, I feel this is definitely true in my own experience.

In terms of selecting a specific example to consider from the book, I could choose any of the images and apply a relatable example of a similar character from my own life. In this instance I am going to choose the photograph of ‘Dolly’ on page thirty. Is she similar to my Nana, yes, similar to the lady who lived opposite in my childhood home on a Stockport council estate, yes. Could she be a family friend yes who you have to refer to as Auntie?.

Her hair takes me to my nana’s home, sitting on her sofa while she makes me a drink and asks if I would like a biscuit. Always dressed well, colour coordinated with pristine and well groomed, silk like hair. Often overhearing conversations when the phone rings, arrangements for her weekly appointment with the hairdresser. In relation to the image of Dolly, I acknowledge the religious gesturing and its connection to the crucifix around her neck. But in my case, the image moves away from my own projection but the relevance here is insignificant because my personal projection of seeing my own life in here has already been achieved. The impact of the subject of the photograph is furthered by the environment Dolly finds herself. Conifers! I have a strange relationship with conifers, my childhood dominated by a large conifer which sat in our front garden for many years. I would stare at it, annoyed that I was unable to past it, but at the same time recognising that it was a unique feature to our house on the estate. Nobody else had a fifteen foot conifer in front of their living room window.

Within the book, Lacy (2007) comments about Sank as ‘having a profound ability to capture the compelling essence of a person’. This exemplified in the front cover image. In addition to the vantage point and choice of shot, the gesture, pose, eyes and placing of the chin serve to produce powerful connotations of the guarded yet aesthetic beauty of the sitter. This is person who is used to being pursued by males while being envied by by her peers. The essence of drama in this photograph probably runs parallel to her life. Berger (1972:47) comments

‘Every woman’s presence regulates what is and is not ‘permissible’ within her presence. Every one of her actions – whatever its direct purpose or motivation – is also read as an indication of how she would like to be treated’.

With reference to the image on the front cover of the book, the presence of the beautiful girl offers insight into her emotional fragility as a result to her guarded body language. Almost a barrier to her emotions, not giving anything away. Probably a matriarch in training, learning how to navigate the route to adulthood. Evolving her own ideas of what is ‘permissible’ although these ideas probably haven’t aligned with her own emotional experience. This is a powerful photograph because of its contested territory between representation and identity.

The photograph works on two levels. In one respect, the viewer is invited into her guarded world, whilst looking at the photograph as a projection, I see my own early twenties in this image. The adult and non adult dynamics between love and distrust. Old enough to engage in playing the game of adulthood without the emotional tools and experience which brings maturity. I almost feel the excitement of love and profound hurt when I view this image.

In engaging with Bate’s idea of projection whilst offering some explanation of permissibility as purported by Berger (1972). I am acutely aware of my own perspective as a male reader and the subjectivity that this entails. Viewing the photograph provoked self reflection and the exploration of my personal history. The image takes me to a specific period of time, and reflections of a specific person. Memories specific to myself as an individual. On a human level. Stepping out of this trail of thought and back to attempting to engage with any type of objectivity and engage on a critical level. Burr, V. (2003) cites (Denzin 1995)

‘Readers create texts as they interpret and interact with them. The meaning of a text is always intermediate, open ended and interactional. Deconstruction is the analysis of texts’.

Here, Denzin as cited by Burr reminds us of the importance of maintaining the critical parameters of the FMP. At present, the FMP has affected me due to the emotional nature of the task. I am emotionally invested on a personal level, and it is the MA structure that has enabled me to access such high emotion. Seeing and feeling the work of photographers such as Sank has a huge impact. (Lacy 2007) comments that the collaborative interviews and photographic events were conducted separately by separate people. Which I feel is a useful approach and assists the collaborators in navigating the blurred boundaries between the emotional, personal and professional. I don’t have that luxury which pleases in one sense as I have total control over the project. And with it being a project that I hope has some success in its critical recognition when completed. I feel that i’m somewhat at the mercy of the emotions of the experiences of others. These are sometimes powerful, sad and tragic. Digesting these stories broaden one’s horizons and enriches the soul.

Bate, D (2009) Photography, The Key Concepts. Oxford, Berg.

Berger, J. (1972). Ways of Seeing: Penguin, Harmondsworth

Burr, V. (2003) Social Constructionism, Second Edition. Routledge, London.

Lacey & Sank (2007) The Water’s Edge. Liverpool University Press and Open Eye Gallery, Liverpool.

The third and final portfolio of the week was with Clare Bottomley, I wasn’t really sure what to expect which is something I have come to expect from these sessions however, having found my previous experiences enriching and useful I was hoping to get some further critical insight.

In order to prepare appropriately, I took advice from Steph who highlighted the disruption in continuity caused by inconsistent use of flash. In response I decided to present portraits where I have only used flash.

Inadvertently, this served to really narrow down my work and it was interesting to see the portraits in a sequence. My philosophy with using flash is on a ‘need to use’ basis and I would often use it to fill in highlights on a subjects face. Having spoken to Steph, I was surprised she made such an observation but I’m glad she did.

As a result, I felt confident that going into this feedback session I had a body of work that had continuity in addition to a developing sense of style. I have already briefly considered the development of my work in terms of visual language and to now have the further guidance regarding lighting, I felt like I was making further inroads.

In response to my work she suggested that in an aesthetic sense, my portraits were beautiful which was pleasing to hear and she also stated that the creative choices to present the images in pairs was a good choice. I was really pleased with this but a little surprised. My immediate thoughts regarding this was that the pervious contextual development work I had done, especially looking at the work of Jooney Woodward had really paid off.

In terms of the more critical feedback, Clare challenged the philosophical approach to making my work. As I have been accompanying my photographs with podcasts, I felt that I had identified a way to get close to my subjects which I feel has substance. However Clare put forward her views regarding the sense of performance within the subjects of my work. A perspective that I hadn’t really considered previously. When viewing work within the mental health theme, I did notice a reoccurring theme with most subjects wearing jogging trousers, this wasn’t surprising and I felt this was very much a hybrid of the uniform of the street in addition to ‘Dad at home’.

Claire furthered her response in noting the interesting representations of masculinities. The conversation then alluded to ideas around performativity using the metaphor that under a mask is another mask. Of which some of my recent work I felt aligned with with her ideas.

To conclude my reflection of the session, I felt that I was encouraged by Clare to look at my work differently, on a philosophical level and consider representation in relations of masculinity that create. At present, I need to further my understanding of this area and look forward to doing so having ordered Judith Butlers book.

With regard to my early research into this area I was struck by comments asserted by Bate (2009, P82) when suggesting…

‘In ‘projection’, the viewer casts off uncomfortable feelings, which arise in themselves, and relocates them within another person or thing.’

I found this pertinent in exploring the potential relationship I have within my own portrait work. The idea that a viewer may identify and be moved by my work is always an intention, maybe even a signifier of success. Making work that may invoke the ‘relocation’ of uncomfortable feelings is a possible location of my work, through the representation of masculinities, jogging pants and deadpan faces. I wonder if i am able to produce work which has such an effect. Certainly an idea that requires further pontification.

Bate concludes (2009,P86) ‘In projection, a viewer can implant their own feelings in a portrait photograph even though it seems as if these meanings come from the actual portrait.’

The self actualisation and power of a portrait on this level, again offers clarity, making work which changes the intrinsic thoughts and feelings of the viewer, I almost consider a secret language of photography. Is this pretentious or the reason that some works move more than others. The challenge going forward is to connect this philosophical approach with the current motivations of my practice. I will continue to question, what is it about my own vernacular and visual language that invokes such emotions.

BATE, D (2009) Photography, The Key Concepts. Oxford, Berg.

Following the review with Colin, the next review was with Steph. Due to spaces not being taken up I felt that I needed to put myself forward for as many reviews as possible for a number of reasons. Firstly, my new project theme is still unstable although I am making progress. I also feel I am at the time when I need to put my work forward in the pursuit of finding an audience. This involves driving down into my work to establish a solid DNA within my approach.

As a result of this review, Steph made some very pertinent observations regarding my practice. Most notably my use of light. Steph commented on the clear distinction between my use of flash. She felt that the distinction between light in the images was significant and encouraged me to seek continuity.

Having explained my idea for the podcasts and their inclusion within a film Steph made a number of recommendations which I will explore over the coming days.

For some time I have been considering shooting medium format, as my research continually takes me to practitioners who use non digital formats especially for personal projects. As I scrutinise images (as much as one can using a screen) I am intrigued by the depth of such images. Looking and sometimes getting lost in the detail. Larger formats seems to invite the viewer into a world defined by the medium with the differing formats appearing comparable to material with my Cannon 5D being cotton and large format being silk.

Throughout the MA I have quietly been building a knowledge base and appreciation of traditional forms which was a subject I was quite unaware of. I’m not from a traditional artistic background although I did enjoy the subject at school. I have also previously read about the benefits of engaging with the process of making as a form of therapy. However, my most pertinent memories of using non digital techniques are ironically, being a runner for a TV show and being charged with the task of digitising hundreds of DV tapes. A task that traumatised me until this day.

I have often spoken about this with my tutors who seem to have the same the same response which is to ask ‘why I would be using such techniques?’ A question that I would seldom have a good response for. One of the better reasons I felt is surmised by Zylinska (2010) who suggests

‘in using analogue techniques and collecting such work is important ‘preservers of value and the past, as keepers, against all odds, of a certain world that (allegedly) once was.’  (Zylinska 2010)

A sentiment I whole heartedly agree with and a very admirable reason but although I confer. Such reasons don’t belong to me, or not enough to motivate me to rethink my personal process. I also took note in a tutorial when Colin Pantall described using traditional processes as adding capitol to a project. Once again, an adequate description. However, this wasn’t really a reason to make the jump in a personal sense.

In her project ‘exploring masculinities through mental health’ Jenifer Pattison re-engaged with the process of developing her work in the darkroom in an effort to identify with her Father…

“I decided to use this process because I wanted to physically make something with my hands. To experience some of the same benefits my dad did when he was making his objects as part of his occupational therapies.

Here the process of engaging with the process really became real and travelled beyond a generic justification. This provoked a much deeper thoughts about why I would take the time beyond the obvious ‘self improvement’. To provide some context, I work as a full time FE lecturer in both media and photography, I shoot twenty weddings a year and have three step sons in addition to a four year old Daughter. I am a volunteer football coach and have made it this far into the MA course.

At present I find myself in an odd place, the lockdown period means that I life it seems has slowed down, and due to self awareness I understand that when I slow down I struggle to cope with mental health. Learning how to shoot and develop my own film, at this point is no longer a task for tomorrow.

Therefore, I acquired the use of a Bronica ETRSI, took it home, took it apart, put it back together again. I must have done this several times over the course of a week or so before I even attempted to load it with film. Eventually I did and it was another few days before I plucked up the courage to fire the shutter. I shot the film, convinced the technician at work to help me develop the film and…. Ah! The film was completely ruined!

Without being deterred, I loaded another film and shot the roll as quickly as I could by making portraits of those immediately around. I needed to get back to the stage of developing as i’d figured out the camera worked in addition to using a light meter.

Loading the reel in the dark was also an interesting experience but I managed to get there in the end.

Anyways, the second attempt was a success of sorts as I managed to develop the film.

The feeling of achievement was something that I cannot remember experiencing in a long time. And the experience of being alone in the dark room with my images was almost spiritual. At this stage I really identified with Pattison when she highlights her desire to do something physical with her hands.

In my experience, I was able to drift into a world which was much slower and methodical than digital techniques. I now understand that in shooting digital the ethos is always to get the shot, review it as quickly as possible, especially when shooting weddings. The impatience was enjoyable with a slow building of excitement about the potential results.

First observations of the outcome, I always find difficult and i’m not really that concerned with the outcomes as the emphasis of this task was really about the process. This is perhaps fortunate because I had to wash the film again as I didn’t leave it to dry for long enough. Maybe an ironic representation of my journey to being more patient.

Helguera (2011) Education for Socially Engaged Art: A Materials and Techniques Handbook. New York, Jorge Pinto Books.

Pattison, J (2015) Exploring masculinity and mental health through the image. British Journal of Photography [Online] Available at: https://www.bjp-online.com/2015/11/alpha-jennifer-pattison/?fbclid=IwAR19oiLn4ehGZZ4h1yBzIFhgju33mfOdcn2Y0bwYeLQtftWTDWzvntSgx5s (Accessed 2nd Nov 2020)

Rosen (2020) Alex Majoli on Artists and the Rewards of Environmental Portraiture. Magnum Photos [Online] Available at: https://www.magnumphotos.com/arts-culture/art/alex-majoli-artists-environmental-portraiture/  Accessed: 17th Nov 2020

Joanna Zylinska (2010) On Bad Archives, Unruly Snappers and Liquid Photographs, photographies, 3:2, 139-153, DOI: 10.1080/17540763.2010.499608