I have attached my tutor report for Assignment 2 – Body of Work:
The reason for making this post is so readers can look at the attached report and gain insights into what I think of my tutor’s comments and how I intend to improve or experiment with the Body of Work based on my tutor’s suggestions.
The tutor report I found to be pretty positive and I agree with most of my tutor’s responses. Since my tutor based the report around my self-assessment and reflection as well as our in-depth video tutorial, I’ve decided to use his numbered notes on my self-assessment and reflection which can be found on the attached PDF file.
My response to DW1: I chose a 20x16inch print size without too much thought, I have to admit. Obviously the ratio matched the ratio of my images (10×8) which was good. I remember I had a loose idea that 20×16 inches might be a good size for a potential exhibition. As well as this the prints could double up as a size where my tutor could see the details in the images which wouldn’t be so obvious in smaller prints. I also didn’t think to add borders which would have made handling easier for my tutor. Nor did I put too much thought into paper type, I wanted ideally a semi-gloss finish but instead got a glossy finish because it was on offer for a much cheaper price. Having said all this, I was pleased with the quality of the prints.
My response to DW2: I should have thought to add borders so my tutor could more easily handle the prints! In response to over-sharpening, I agree in retrospect they were slightly over-sharpened and didn’t look as natural as they could.
My response to DW3: ‘Lends an air of authenticity’ infers even though the map coordinates are checkable, this doesn’t automatically mean the images are objective. My tutor expands upon this notion by saying: ‘Maps are not neutral and reference specific power structures.’ – (Wyatt, 2019). I wasn’t aware or didn’t really think about maps being non-neutral. I assume ‘reference specific power structures’ could mean certain people made them, they could be based on models and these people or models could be biased in some way. Instead of just speculating, I intend to chase my tutor up about this as it does interest me.
My response to DW4: In retrospect I agree with my tutor but I have also started my Work in Progress posts which should help with this conceptualisation of thoughts and communication of ideas.
My response to DW5: I have to agree with my tutor here as I now see my work as being quite creative in a constructed photography way. Also I think as I’ve started experimenting with Assignment 3, it is getting more creative.
My response to DW6: I am experimenting now with regards to the construction of the composites leading up to Assignment 3. However, it wasn’t a new to me pictorial strategy because my tutor wasn’t aware I had tried out this pictorial strategy in the Documentary module of the course, specifically with this post. That’s why I felt at the time I hadn’t experimented.
My response to DW7: I agree with my tutor for Body of Work here. I’ve also spoken to my tutor for Contextual Studies about this and we agreed that Deptford is my ‘muse’ for this project rather than what the project is about. When I said ‘allow Deptford to speak for itself’, I was thinking practically in terms of the people not criss-crossing in the pictures but being evenly spaced within the image. I agree then that it is definitely ‘me’ who is making the pictures.
My response to DW8: Agreed.
My response to DW9: I still need to check out this link to a specific part of my tutor’s PhD but intend to do so. I have previously checked out Mark Power’s (2003-6) 26 Different Endings in this post so I will be interested to see how it relates. I am reading Anna Minton’s (2012) Ground Control at the moment.
My response to DW10: I have since made the project more consistent in strategy.
My response to DW11: I feel I am much more comfortable with slowing down and using a tripod than adapting and decision making with handheld photography. Luckily for me, I still arrive at interesting moments in this kind of street photography.
My response to DW12: I couldn’t agree more. I think my single images (even composites) are very fragmentary and distort ‘the truth’ and I think photography in general when seen as single images is very fragmentary. This is because usually the photographer has timed and framed a moment and a composition out of many, many others to convey a certain statement or feeling. Therefore I don’t feel so bad about making composites now as they are just as fragmentary as traditional photos. Furthermore, because I intend to arrange multiple composites of the same scene but at different times in a series, it will hopefully be possible to gain a more rounded, less fragmentary idea of change occurring.
My response to DW13: I need to look this up.
My response to DW14: I meant this in a visual sense as in many non-composite images, people will criss-cross in the photograph which looks real but not orderly. In my composites I have made sure that the people depicted in them do not cross. This is practical in terms of making the composites but also because it suits my aesthetic vision.
My response to DW15: My tutor and I discussed my shooting more images for Assignment 3. They probably won’t all appear in an exhibition (or book) but it would give me more options to choose from (especially when making the composites). I agree that if the images appeared at a huge scale like with Gursky then 11 images could be more than enough.
My response to DW16: Since Assignment 2 I have scouted out 2 more locations to make the composites (WIP #1). With the first I found a location where there are only hints of old Deptford. It requires the viewer to look for them (the old street name on the house and the old-ish houses on the right). Like my tutor says these references to ‘old Deptford’ might be lost in a single image but as a larger body of work they are easier to spot if a theme has already been established.
My response to DW17: I need to do more of this.
My response to DW18: I hadn’t thought of this but I think this is a good point. Both the past and future are checkable by combining the map coordinates with the images!
My response to DW19: This is a similar point to DW3 so I will definitely try to check out that specific part of my tutor’s PhD.
Minton, A. (2012) Ground Control. (2nd ed.) London: Penguin Books.
Power, M. (2003-6) 26 Different Endings. At: https://www.markpower.co.uk/Photographic-projects/26-DIFFERENT-ENDINGS (Accessed 22/07/2019).
Wyatt, D. (2019) JHBOW2.pdf. At: https://johnhallbodyofwork.files.wordpress.com/2019/11/jhbow2.pdf (Accessed 18/11/2019).