Response to Tutor feedback on Assignment 1
My feedback came quickly with helpful comments (some positive – some less so) and suggestions. It seems to have taken weeks though for me to get to grips it – well not the feedback exactly but this Module itself. A part of it I know was letting go of AOP and still feeling ‘unfinished’, as I was doing a lot of reading around various writers’ views of the meaning of fairy tales and contemporary critiques.
I’ve done work towards most of the exercises in Part two so have several folders of images waiting for my attention but keep distracting myself. I’ve also acquired some more of the recommended books for ‘People & Place” such as Charlotte Cotton, Geoff Dyer, Caruana & Fox and David Levi Strauss and several more books on photographers – Saul Leiter, Duane Michals and Keith Carter. So far as the photographers are concerned I think I’m still searching for a style or concept that will fit my personality, philosophy and feelings about the world and build me a stronger bridge towards People & Place. I’m not feeling entirely negative because I have felt more enthusiastic about the Course these last few days and so it really is time to address my tutor’s comments and move on.
Some aspects of tutor feedback
Positive comments regarding my first image of Matt in the stable but the other portraits not as strong for a variety of reasons.
My tutor had noticed some problems with a hint of blue colour cast and we had a discussion about this by email. Basically, the prints looked pretty much as they do on screen so it didn’t appear to be a calibration problem (I use Huey Pro). He had also queried whether I worked the images in Photoshop or were they jpegs straight out of the camera. In fact, I nearly always shoot RAW and then go into PS.
suggests a bit of a ‘lurking in the undergrowth’ look and might have been better substituted for this one
which was on my contact sheet and has a more natural look – with some modifications; eg being cropped along top and left side and where moving to the left a little could have avoided the tree coming out of his head. I could also have used a shallower depth of field. The depth of field is actually f/5 and, of course, I hadn’t put this in the final selection because of the tree problem. Hadn’t thought of cropping though so I’ve had a go
Image 3 (15)
Good strong eye contact and serves well as a headshot. Suggestion I might have asked him to remove his hat for a slight difference in composition and maybe used some off camera fill flash to add a catch light. Points taken. There was a slight problem here with the colour (cyan cast) and my tutor helpfully made some alterations to this so I could see the difference – removing the cast; cropping a little tighter and increasing the contrast slightly.
Image 4 (22)
This was the one where I wanted a more somber, contemplative shot where it was darker in the trees (and the hat is removed) and I’d used flash as well. Comment was made that it seemed redundant with the presence of Image 3, but could benefit if cropped as a much tighter head and shoulders shot, without the trees. Here is is with alterations:-
Photographs inside the house
These were considered to be less successful overall. Whilst my tutor thought it was good to experiment with the Holga lens which added another dimension, he suggested getting the basics down before experimenting. He wrote that the main problem was the lack of eye contact. This is where I felt confused because I’ve looked at many portrait shots that don’t have eye contact, including the examples in the Module Handbook and also portraits at the Out of Control Exhibition at the Saatchi Gallery (e.g. some of those by Katy Grannan). Also in the assignment brief we were told that the portraits should be different in type and style.
However, my tutor thought the introduction of the mirror was an interesting element and it might be worthwhile exploring this in the future.
Suggestions of Photographers to look at
Along the lines of my introduction of a mirror, it was suggested I look at the work of Brian Griffin . I thought these were very interesting and distinctive – should also add that not all of them show direct eye contact with the photographer. I’ve copied several of them into my paper log for reference. There is one of George Melly wearing rings like eyes on his little fingers as he holds his hands up to his eyes (quite surrealistic). Len Deighton holding a book aloft and standing in between a computer and printer (very contextual). Martin Parr – a blur of movement as he opens a door whose edge is sharp and clear. Another one is of Howard Hodgkin, painter here which has an unearthly look. the skin on hands and face is pale and paper thin and he almost looks at the point of death. You can see the hands of a woman (I think) standing behind him – right hand on her right breast and left just gently touching his shoulder. There’s a narrative there but of what? I did a search on Howard Hodgkin and looked at an interview from 2010 – although his hair is the same colour of white his skin has much more colour. Does this mean that Griffin processed the image to gain a desired effect? Were they talking about light/dark, thoughts of death? The tones are wonderful and I keep looking at it.. Oddly enough there’s something about it that reminds me of ‘The Blade Runner’, where Rutger Hauer is crouching on the parapet, ready to die, and looks almost like an angel.
Considering the work I’d done on ‘Tales with Valeria’ for AOP my tutor thought I might also like to look at Griffin’s ‘The Water People” – a series of portraits Griffin made for the Icelandic Water Board, shot through a pane of glass with water flowing over it here . The concept is an interesting one although these images appealed to me less – the effect of dissolving has too sinister a feel for me.
Another suggestion, in respect of environmental portraits, was to look at the work of Peter Marlow, a Magnum photographer. The website didn’t allow me to click into his portraits to see them in larger size but it does enable one to download a pdf of his general portfolio, which contains portraits. These portrait are less ‘styled’ with slightly more of an air of ‘caught in the moment’ whilst travelling in a car; sitting at the desk at the office; walking etc – perhaps more concentration on the person of the subject as opposed to making a creative statement for/about them.
I’ve already written up the 1:1 session I had on simple lighting . Following this I bought a speedlite and, new wireless trigger and set up a practice session with my husband in the garage. Here are three of the results
At least I’ve been practising, despite still continuing to believe that portraits aren’t really me! It’s a chicken and egg thing I think. I don’t want to have people pose patiently for me and then produce something mediocre, but the fact that the portraits are relatively ordinary leads me to think I’m pretty rubbish so I feel even less confident and that it’s not worth trying.
Other aspects I need to take into consideration
These are more general considerations for writing up assignments, following on from additional tutor comments.
In the exercises leading up to Assignment 1 I wrote that I had taken 327 photographs overall on the three long sessions I had with Matt, which I then whittled down to 34 before filtering even more down to 16 and the final 7. However, I wasn’t explicit about this in writing up Assignment 1 and so my tutor thought I had only shot 34 photographs and commented that this wasn’t enough.
- I must remember to include this type of information in my Assignment write-ups as my tutor and Assessors will concentrate on looking at my Assignments (and re-runs of them) with much less time available to them to sample/scan exercises etc.
My tutor wanted to see more evidence of other work I’ve looked at and reading around the subject. I read Train your Gaze for the Assignment and did look at other images but wrote little about this. I think this is a fair indication of my diffidence regarding portraits. In terms of general reading and research – this is a new blog and so this information is expanding all the time. My Art of Photography blog has a lot of this type of information and my concern is that, in a way, this is going to be redundant now in terms of evidencing my development unless I find a way to link this in wherever possible.
16th July 2012