This week has consisted of continuing to edit the audio recordings from the interviews that I’ve been conducting. Until recently I’d been editing using the audio channels in adobe premiere. This was ok for a while, however as the interviews mount up it became increasingly difficult to handle all of the recordings in terms of working with multiple channels and being able to visualise the clips on a timeline. Therefore I downloaded adobe audition which is professional podcast making software. Having familiarised myself with the workspace I was able to set up a multitrack session which was beneficial as the software provides clear channels to import edit and recording. Being able to see each recording in a colour coded channel enabled the organisation of the audio. Once imported I was able to set about editing each interview, removing any unnecessary conversations and interruptions. I was then able to raise the volume of each interview before figuring out how to reduce background noise. Having acquired the knowledge of this software I was able to significantly speed up my workflow which is useful as I had spent long periods of time feeling as though as was making little progress.
Adobe Audition with Edited Audio
At this stage I have a number of separate interviews that have been edited down to what I feel is the most relevant. My next task will be to export each interview as a single text before uploading to a publishing platform. In the past I have uploaded audio to sound-cloud however having had some initial success in embedding the audio into my CRJ, I now realise that this isn’t always the case. I am also unsure of the accessibility from mobile devices however I will continue with sound cloud until I find a better option. Another avenue will be to couple the interviews with images and upload to youtube however I’m not sure the audience experience would be enriched by such an approach. Having a twenty minute piece of audio is a long time for a viewer to look at one to three images. I am conscious of the need to develop methods of dissemination and this approach may represent progress although not appropriate for final presentation.
At the top of the page is a collection of the portraits I have taken thus far. Now that I have made work I find it personally beneficial to continue to look at the photographs. As my relationship with the work matures I find that my relationship changes and I am able to see where I have developed in addition to identifying problems I have in relation to my DNA as a photographer. I’m quite pleased with some of the vantage points and I am able to see the benefit of shooting with a 35mm prime lens and I’m warming to working at this focal length as opposed to shooting a zoom lens at 24mm.
Going forward I would like to begin to make work in locations outside of the home, possibly the work place although this may make future work look more commercial. I’m not sure if this is a danger as it might insert a commercial appeal however a consequence may be the work becomes less intimate. Having identified this quandary a task will be to take the work outside home whilst retaining a sense of intimacy.
Starting research into the broader subject matter of mental health in males feels a bit like trying to jump into a sea of information and knowing where to start is quite difficult although it isn’t hard to find statistics which make rather grim reading.
Within this article published by mentalhealth.org I found some interesting info regarding the possible reasons of male mental illness. And in consuming this info I will hope to offer some personal insight from my own experience and of those I have interviewed as part of my project.
Societal expectations and traditional gender roles
Whilst progressing my work I have certainly noticed that maintaining gender roles has been an important factor and although participants have in the main been very frank and honest in sharing their experiences, I feel that a male discourse is present in both photographic work and in the audio recordings. When collaborating with participants I feel that I have been able to access some emotion, however at the few points a metaphorical mask has been removed I feel the mask is quickly replaced with another mask. Almost a tick box approach as if to say ‘I’ve done the honest bit now’. By no means do I intend to demean this level of honesty, rather an acceptance of the patriarchal view of looking at the world.
Men are less likely to discuss or seek help for their mental health problems
Although probably true, I have spoken to a number of participants who have sought help for their mental health. And from personal experience, one of the main reasons I am probably still here is due to the intervention of a female GP. At my most vulnerable I had a weekly appointment where my GP, although not a specialist was able to provide emotional support on a human level. In maintaining this relationship I felt a she eventually was able to understand my issues and offer critical insight.
Socioeconomic hardship, unemployment
In pursuing this theme I certainly identify with this. Working as a media teacher in the FE sector I have been employed at the same institution for nearly nine years. Around five years ago I experienced a new management structure being implemented and saw many colleagues leave their posts. I’m still not sure why many employees left the college but more importantly in a personal sense. I’m not sure why I haven’t been asked to leave. I understand this may represent a lack of confidence in my own personality and it is possible that I am good at my job. However the feeling of insecurity is something that I have lived with for a long period of time. Sometimes stressful and a source of anxiety which can have a huge impact on myself and my family. At the same time, I feel scared to leave and seek employment elsewhere as I’ve been employed in the same place for so long. A strange conundrum that I haven’t yet solved.
As a result of my open call for participants I organised a shoot with Mike. I was aware of his difficulties with mental health in a general sense but I was unsure of what the outcome of this encounter would reveal.
In summary, Mike referred to being the middle child of three boys and related this as a barrier in him finding his own identity. Once again, failures in the football environment in addition to struggling with maintaining intimate relationships. The interview culminated with him sharing his experience of considering suicide whilst stood on the platform of a train station.
In order to develop my project I felt that I needed to go beyond my immediate community and seek more stories to tell from tell. As a response I decided to put an open call for participants using facebook in a specific group which brought a specific group.
The group I reached out, was brought together as a result of the death of a personal friend. Chrissy was in is early forties and my connection to him was via the football environment. However, he was know to many in the area and when news of his death spread an online community formulated to celebrate stories of him, this then turned into a charity football match and has now become a memorial community where people share stories and connect.
Having challenged a mental health theme in the last module I felt compelled to continue to open up the conversation about mental health within this module. I’d originally decided to move away from this theme however my thoughts continually lead back to my personal concerns. Read surmises the nagging feeling at the back of my mind appropriately by stating.
Read (2017) ‘Looking back at the concerns that form the backbone of the work and the interests which fuel it, with or without input from others, will serve to provide evidence of where they have been and point the direction for the future.
In following my personal feelings, as a result of events of the past, my outlook on the course has shifted and the experience of loss leads to a type of reassessment. And the opportunity I have to utilise my photographic literacy to make a positive contribution to the community.
Laurent (2017) in the Time website writes about photographers as ‘the ones who sort all of the chaos of the world into images that bring clarity to the free for all of life.’ Referring to the photographic literacy developed throughout the course, I find myself in a unique position to represent my local community in challenging the theme of mental health, especially in males.
In keeping with the rational of conducting interviews and making photographs I am able to represent the community by producing a photo book. This is the most appropriate direction as a book will become a type of album to celebrate the community in addition to encouraging people to contribute to something precious.
Taking quotes from the interviews to use as text within the book feels like an appropriated direction as it will anchor the meaning of the photographs and produce a sense that the emergence of the book is a direct result of the photographer.
Abel-Hirsch (2014) cites Subotzky “People see a camera and think you’re photographing for the Daily Sun,” he says. So it was essential to explain what they were doing. Photography has always been about relationships for Subotzky anyway — “the pressing of the button is almost a by-product of engaging with people”.
By coupling the photographs with the interviews I have found the photographic event less of an aggressive act when collaborating with the community. And Subotzky makes very relevant comments her which apply to the work I will continue to make.
Laurent (2017) Why We Do It: Photographers and Photo Editors on the Passion That Drives Their Work [Online] Available at: https://time.com/4839246/photographers-passion/ [accessed ]18th March 2021
Read and Simmons (2017) Photographers and Research, The Role of Research in Contemporary Photographic Practice. Taylor and Francis, New York.
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.
Dolly | Michelle Sank, The Water’s Edge (2007)
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.
Having produced and edited new work I was conscious that I needed to engage with the task of editing the recorded interviews that I conducted. I was reluctant to do this immediately as it is an emotional task to listen to the struggles of others and needs to be done when I am alone which isn’t very often in my household.
When reviewing the audio I felt at odds regarding the appropriate production values I should be applying to this work. In order to make this work I have been using the voice recording function using my phone. I did consider using a zoom microphone but I felt that would be an unnecessary barrier between myself and the interviewees.
A mobile phone is an everyday item which most carry around with them, therefore I felt this was a good option as this project is about emotion as opposed to aesthetics. And in using a mobile phone I feel that in using an everyday item, It was one less barrier in addition to the camera. I made this choice because it felt like the correct thing to do. The camera is already an object which carries aggressive connotation, as Sontag refers to its ability to violate someone. Having already conducted some interviews, I feel that the more I act like I am making a production, the more guarded a collaborator would be. In this instance, the person I am collaborating with, I care about greatly.
In this instance Chalfen (2011) reminds that ‘a project initiated by a caring individual within a context may be an act of responsibility or personal interest’. Sentiments that very much apply this this project. Although, with a technical mid frame taken from a background working in factual TV. I felt that to enable Nathan to tell his story with maximum authenticity, he needed to collaborate with a trusted friend and not a documentary maker. Barthes (1981) suggests that “authentication exceeds the power of representation”. and I agree in case, the content of the interview being far more important than the production values. I also feel that the strength of the collaboration is rooted in the power of the content which moves the project beyond the aesthetic.
When editing the audio, I started by removing as much of my voice as possible. I didn’t want the presentation to encompass any manipulation on my part. This is a further contested territory but an approach which reminds of the advice provided by Colin Pantall in recent webinars who continually encourages to think about the work in relation to being able to frame a broader story and in the case of the story I am trying to tell, my input regarding the words of others I feel needs to be minimal. However I am aware that I am very much a collaborator within this process by enabling participants to express their thoughts and views. My approach to this is informed by (Helguera 2011) who suggests that ‘participation creates vitality‘. Which aligns with my views on the process of conducting interviews as I feel that my role is to facilitate an open dialogue. In my last meeting with Laura I asked her about how she creates a sense of intimacy within her own work and she simply responded by suggesting ‘I’m an open book’. Which may seem an ambiguous statement but I totally understand this comment as a result of the interview experiences.
Having performed an initial cull of the audio, my thoughts were that I still had too much information therefore, having had a break, I went back to the edit and cut the interview further, in doing this, my objective begun to emerge in a clearer sense. At this stage I had begun to establish some specific micro narratives which were insightful in the area of the mental health theme I was challenging. As a result, I felt the relevant areas of this interview were:
Early years and childhood
Time in prison
Experiences of poor mental health
Having established these themes I then needed to consider the quandary of how to frame, or present the story. At this stage the technical versus the emotional required mediation. In response, the passages I have included within this post, encompass what I would describe as semi structured or open narratives. This felt like the correct direction as it is my intention to provide context to the aesthetics of the photographs whilst still requiring the audience to still engage with a level of interpretation. Hall (1999, p. 514) highlights ‘By the word reading we mean not only the capacity to identify and decode a certain number of signs, but also the subjective capacity to put them into a creative relation between themselves and with other signs’ And in discussing the act of interpretation, I am now at a stage where I am interested in how an audience would read the audio an image in order to produce interpretations. I will need to seek feedback on this issue and it will be necessary to take on board critical feedback attentively. Read (2017) Comments ‘feedback from others may necessitate feeling one’s way through the process of making work’. And offers a tangible way of negating the process of conducting interviews. At this stage I feel that my edits are short, engaging and have a type of narrative which offers a resolution. However feedback on this issue will be as important as my own thoughts in this area.
Helguera (2011:P11) Comments that ‘socially engaged art is often characterised by the activation of members of the public in roles that go beyond passive receptor…. in the spirit of these practices, often expands expand the depth of the social relationship promoting empowerment, criticality and sustainability’.
In collaborating with Nathan I feel that the impact on him was a positive one, he commented that he had told me that having spoken about his personal experiences made him good in addition to receiving a positive message from his partner on the evening after the collaboration with her suggesting that the impact on him was positive.
Going forward I will be editing my second interview in order to extrapolate the richest information in addition to being economical in producing micro narratives which are able to hold audience attention.
The coming week will not be prioritised with making work, rather the emphasis will be to focus on presenting the work I already have in order to amplify its meaning/impact on the audience.
Barthes, Roland (1981) Camera Lucida, London, Vintage.
Chalfen, R. ‘Differentiating Practices of Participatory Visual Media Production’ in Pauwels, L. & Margolis, E. (2011) The SAGE handbook of visual research methods. Los Angeles: Sage.
Hall, Stuart (1999) ‘Encoding, Decoding’ in The Cultural Studies Reader. London, Routledge.
Helguera (2011) Education for Socially Engaged Art: A Materials and Techniques Handbook. New York, Jorge Pinto Books.
Read and Simmons (2017) Photographers and Research, The Role of Research in Contemporary Photographic Practice. Taylor and Francis, New York.
Drew Findlay 