My tutor feedback is shown below and my comments in italics.
Formative feedback
Student: Ian Meechan
Tutor: Andrea Norrington
Degree Pathway: Photography Student number: 515528
Course Unit: Digital Image and Culture Assignment No: 1
Feedback Format: Video Date: 19/01/24
Overall Comments
As per our recent emails, below is the feedback for Assignment 1. I understand that you have not been able to submit via OCA Learn, so I will send a copy of this report to OCA directly.
Your work was looked at on your blog at:
As per your email I have also looked at the other parts of the course, however this is not detailed feedback on any of those parts.
Feedback based on Learning Outcomes
For the coursework I can see that you have completed the practical exercises.
There are times when I can’t see any information for the written research points on your blog – two examples below – it may be that you are yet to upload them. If you do have issues accessing links on the course, please do let me know.
Part 1 – Project 2: Through a Digital Lens
Part 1 – Project 3: The Found Image in Photomontage
Part 2 - Research Point 1 – Project 2: The Artist as Archivist
For Exercise 1.3, the comparison of Zuckerberg vs Musk has been interestingly put together.
For the assignment you have worked in two different methods to show the rubbish. The layering of the cut and paste has been made obvious – and the starkness of the landscape with the deliberate and obvious placement of the rubbish adds to the series.
The second series is more subtle in effect.
In your research section, the production of the assignment has been clearly documented.
Do continue to do this.
Photographers to follow up:
Andy Hughes – Dominant Wave Theory to see how he has used placement of rubbish and choice of viewpoint.
Also, Lynn Silverman’s project Horizons may also be of interest:
Action points
Summary of other work:
Assignment 2 – has a clear structure, concept and resolution.
Assignment 3 – Critical Review – please can you send this as a Word document when you submit this assignment. It much easier to comment on the text in this format. I’ve not read this essay in full and will wait until it is submitted as an assignment before completing feedback.
Assignment 4 – you have a clear concept here and have undertaken research with your survey. Do allow yourself to catch up on all the bits of the course from Part 1 – 3. It would be good if we could get a video call to happen for assignment 4.
Assignment 5 is a progression of your work for assignment 4, and a conversation is a much better way of discussing the options and generating ideas rather than written feedback. I understand the difficulties with this, but I can be flexible on timings with being available early mornings/evenings and/or weekends to help facilitate this.
Assignment Schedule
My tutor suggested a schedule setting out a pace of study that suits me, and within the overall timeframe of your course.
A decent start. As a series the images work better together when combined with the explanatory texts.
It would benefit from expansion. It’s worth challenging yourself to create images that could potentially work as well without texts – you are after all in a place filled with potential and imbued with meaning for the Aboriginal population.
I felt that as this was my first assignment it would be beneficial to add text to my images. Reflecting on my tutors comments, I should consider more the impact of the complete image and if it can deliver the message on its own. Overall I'm happy with the result and the feedback was beneficial going forward.
Feedback on assignment
Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity
At Level 2 we need your notes on our tutorial. This helps you and us check where you are, what you understand, what help you might need.
We tried to cover plenty of ground in our tutorial in order to help you keep moving.
My initial impression of this submission is that most of the selection suggest sublime, in that sense of awe at nature and the potential for death. Your commentary regarding the lurking crocodiles confirms this. It’s worth taking a look at Jay Appleton’s Prospect-refuge theory. It would seem to apply to your chosen landscapes.
Figure 2 seems out of place with the other ‘wide’ shots, do you have something that might suggest more of the rapid rise of the tide? This close-up looks benign in comparison to your description.
I've replaced Fig 2 with a view of the tides coming in across from the mangroves. These are normally fully above the water during low tide but I've tried to demonstrate the speed the waves move as it's the second highest tidal movement in the world.
Original
Replaced
On that note, please provide full contact sheets.
I've uploaded my contact sheets in the website research and reflection link.
The series seems small for a landscape that seems so diverse – I’m left wanting to see more and I imagine others would be too. A larger series would also help tie images together through shared aesthetics, colour, lighting and framing. You note that this is a ‘snapshot’ but I feel you should aim for images that reflect your expansive knowledge of the area.
The best area for expansion could be your hope of creating an ‘emotion of distant impending danger’. Utilise the shadows and darkness. Suggest, don’t show. David Moore’s interior shots of the Houses of Parliament and nuclear bunkers inspired my work with cadets in London and in forests with trainee servicemen and women:
It was interesting viewing David Moores website and especially seeing Les's work too. The minimalist impression and use of colour was inspirational. In the past the type of work I was asked to do had to show the detail in the subject. Photographic a theme using a suggestion is a prospect I've never attempted. This should be something I should experiment and consider in future projects.
Good to see that you are working with consent and that you are clearly aiming to get a feel for the place. How much of the locals respect for the land transfers through you and into the images will be fascinating to see.
Coursework
Demonstration of technical and Visual Skills, Demonstration of Creativity
This is well evidenced on the blog, use exercises as opportunities to experiment.
Research
Context, reflective thinking, critical thinking, analysis
Evidenced on your blog, show us more examples of practitioners, and your thoughts on them.
Learning Log
Context, reflective thinking, critical thinking, analysis
Thoughtful and well written, ensure all links work, and remember to emphasise to the readers in your learning.
Suggested reading/viewing
Context
See above, and without overloading you with suggestions I’ll add my usual reading list and then discuss specific influences later -
Being aware of contemporary practice is key, write your thoughts on them into your blog, note how they change your approach.
Reflective writing is the key to learning, and I think that you are evidencing your thinking well with your write-up but you will benefit from linking with references.
Take photographs of any handwritten notes, mind maps and log and include them in your online blog.
Using the arguments put forward by critics will help you gain understanding and progress your engagement with photography. Which is why its so important to read as much, and as widely, as possible.
Here’s an interim reading list that I usually send out to students, some of these are included in the treading for various modules –
John Berger: “Ways of Seeing“ *
Graham Clarke: “The Photograph”
Ian Jeffrey: “Photography: A Concise History”
Susan Sontag: “On Photography”
Roland Barthes: “Camera Lucida”
- five relatively old but excellent entry points into discussing photography.
Susie Linfield: “The Cruel Radiance: Photography and Political Violence“
- contemporary, personal and easy to read, much of it in response to Sontag and Martha Rosler
Liz Wells: “Photography : A Critical Introduction” and “The Photography Reader”
David Bate: “Photography: Key Concepts”
Stephen Bull: “Photography”
Charlotte Cotton: “The Photograph as Contemporary Art” *
Susan Bright: “Art Photography Now”
David Campany: “Art and Photography”
Ashley la Grange: “Basic Critical Theory for Photographers”
-essential, (at least the first four) contemporary general photography works
Gerry Badger: “The Genius of Photography: How Photography Has Changed Our Lives”
* also on DVD or online
Mark Durden: “Photography Today”
Steve Edwards: “Photography: A Very Short Introduction”
* It really is short!
[no author / Phaidon]: “The Photography Book” *
Martin Parr / Gerry Badger: “The Photobook: A History”
Geoff Dyer: “The Ongoing Moment” *
Mary Warner Marien: “100 Ideas That Changed Photography” *
- for when reading gets too heavy!
Anne Jaeger: “Image Makers Image Takers” *
- insights from photographers, commissioners and writers
* Asterisked books are the most accessible
Put any reflections or reviews on your blog.
Summary
Strengths
Areas for development
· Variety of locations
· Attempt to convey feeling
· Photographs show attention to framing and lighting
· Contextualise where you feel your work sits within contemporary practice
· Tighten up the theme – guide us
· Edit based upon recommendations
Comments