‘Navigating the Art World: Professional Practice for the Early Career Artist’ -Delphian Gallery 2020

The summary of this review will probably be “style over substance”. Is this a bad review? Not necessarily or intentionally but unfortunately the result of many social media driven endeavours. This book, sold and created by Delphian Gallery, is pitched as a guide for artists looking for a foothold in the gallery world, the verboseContinue reading “‘Navigating the Art World: Professional Practice for the Early Career Artist’ -Delphian Gallery 2020”

A Search for Juba, Lost in Royton.

By no means the first, but possibly the most documented, enslaved man in the Lancashire and Greater Manchester area Juba Royton is notable for his few but unique appearances in local and national records. These dates a merely records of occasions in his life, no images of him, no history before his arrival in OldhamContinue reading “A Search for Juba, Lost in Royton.”

Auto-Focus – The Self Portrait in Contemporary Photography – Susan Bright (2010)

Auto-Focus is a look into the different sub-genres of self portraiture and the artist that are recognised for epitomising these approaches. Susan Bright, author of several books and papers on photographic theory, breaks the category of self-portraiture into 5 sub-genres namely; Autobiography – similar to the understanding used in literature but here challenged and expandedContinue reading “Auto-Focus – The Self Portrait in Contemporary Photography – Susan Bright (2010)”

Photography The Key concepts – David Bate (2009)

David Bate presents an in depth wide view on photographic theory across the past 150+ years in a way that whilst as a whole is daunting, and frankly now I have come to the end hard to remember, it is also very well structured and developed throughout. I found myself being able to grasp eachContinue reading “Photography The Key concepts – David Bate (2009)”

Assignment 2: Narrative

Brief 1. Photographing the unseen Start by doing some reflecting in your learning log. What kinds of subjects might be seen as unphotographable? How might you go about portraying them using photography? List a few examples of things you’re experiencing now or have recently been thinking about. This doesn’t have to be too in-depth orContinue reading “Assignment 2: Narrative”

Exercise 4: Digital Manipulation

This exercise calls for the creation of a manipulated image. personally I don’t find myself drawn to composite or collaged images for my own work. I do appreciate the work of others utilising this approach to communicate. there ideas and concepts and I am not averse to the use in the future as my ownContinue reading “Exercise 4: Digital Manipulation”

Exercise 2: Street Photography

For this exercise I stuck to the two or three streets surrounding my home due to the lockdown restrictions at the time. For equipment I used a Sony a7iii with Sony 50mm f1.8 lens as I find the focal length appropriate for the purpose of shooting in a street photography style. In all honesty IContinue reading “Exercise 2: Street Photography”

Exercise 3: ‘Public Order’

Going into Pickering work already knowing the context of the images I feel detracts from the series in a way that it removes the mystery one would feel having first experienced the images prior to the knowledge that the streets are mock ups made for police training therefore it is understandable to find that empty,Continue reading “Exercise 3: ‘Public Order’”

Aftermath and Aesthetics

Following on from my writing on photojournalism I revwed the suggested reading on the “shift from action-based and highly visceral kind of war photography towards ‘aftermath’ photography. The so called ‘late’ style of photography is a concept David Campany proposes, in his article ‘Safety in Numbness: Some remarks on the problem of ‘late’ Photography”, thatContinue reading “Aftermath and Aesthetics”

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