Overview
This section aims to provide a summary of my project ‘Inside the Shell’ for Photography Level 3 Sustaining your Practice and evidence of how the final submission has achieved the course Learning Outcomes (LO). The introduction of Learning Outcomes occurred during the first twelve months of Body of Work and links will be provided to areas within my course blog site [link to main site]. All material produced on my blog has been against the course manual dated 2013 and updated in 2020 written by Sharon Boothroyd and Jesse Alexander. This course has subsequently been reissued and the structure of which has changed. The new structure has not been reflected in this project work.
Due to COVID my initial plan for submitting prints and the published book for assessment had to be changed and my final submission now consists of a dedicated website here which provides several viewing options of the book, zine, platinum and palladium prints and a range of additional images that have been created during my studies. There is also a page that provides an overview of the project.
Inside the Shell is based around the coastal community of Ngawi (pronounced ‘naa-wee’). Known for having more bulldozers per capita than permanent residents this project scratches the hard-male surface and discovers what is holding the community together, the very backbone under the shell. The location is exposed, with intense and prolonged periods of high winds and heat during the summer. With very few trees, it takes a very special kind of person to live here. Media has reported the ever-increasing decline in mental health within rural New Zealand and this project explores the strength that lies within these communities and especially within the softer gender. They are the ones holding things together, making do and patching up both mentally and physically.
Learning Outcome 1: Professional Context / Knowledge
‘Demonstrate comprehensive knowledge of the professional context(s) relevant to your practice and have an understanding of the professional dimensions that underpin a successful photographic practice’. – OCA (2020) Course Guide for digital assessment of Photography units
Assignment three provided the opportunity to research a very different aspect of photography but with very close links to that of social documentary photography. Through additional independent research and the responses received from four forensic photographers I was able to obtain an insight into the methodical processes and procedures required to be a forensic photographer. The questionnaire only gave part of their experience but through discussion via zoom and over a coffee I gained a more in depth understanding of the need to try and capture a true representation of the situation, to record facts and this was in some way how I tried to represent the women of Ngawi and the link to social documentary as a photographic practice.
The forensic photographer has a very important message to communicate. The scene needs to be controlled and not open to interpretation. There is no room for second guessing the situation. The social documentary photographer is also there to record and represent a situation or highlight an issue. In both cases there is a human holding the camera and pressing the button. They are and will be influenced by their surroundings and personal bias. Each of the photographers that responded to my questionnaire spoke about recording the facts, the truth, the need to present to the jury a clear picture. Following set procedures and protocols.
As photographers we know that an image is constructed, it is referred to as ‘taking’ a picture. It cannot be taken without having been influenced by the person taking that image – you can’t merely record. The photographer creates the photograph. Just like forensic photography, social documentary is influenced by the photographer, however in the latter the photographer is trying to portray a narrative what was seen and so close to the perceived idea of recording and lack of reconstruction. If two social documentary photographers were asked to record the same scene the resulting images would be very different. In the case of two forensic photographers the images and processes they follow should minimise the differences between the resulting images. The viewer of the image be that of the general public or a member of the jury should not forget that the photograph is merely a representation of the situation.
Learning Outcome 2: Creativity
‘Coherently present a body of work, making creative presentation decisions that complement your subject and/or your artistic strategies’. – OCA (2020) Course Guide for digital assessment of Photography units
Assignments Four and Five provided an opportunity to review and summarise the three elements to this submission; the website, the book and the solo exhibition. The website offers a selection of images that were used in the book and negatives that were also used to produce platinum and palladium prints. There is also a video of both the book and the zine which was submitted to a New Zealand competition. It also includes a project overview in the form of an artist statement and a bio.
The intention for the book during Body of Work (BoW) was to be simply a gift to the women who helped as part of this project, however as one of the main drivers for SYP was to market and publicise your work, I decided to develop the initial design and undertake a full production of the book and to try and sell it via my network and through social media. I knew that my submission for BoW was probably not ideal and so through a series of portfolio reviews with both fellow students and professional photographers I developed a number of different concepts. Utilising and developing my skills in InDesign I produced five possible designs that over a period of time, research and through the evaluation and reflection on feedback I made changes to try and settle on one possible design to progress through to production.
It was clear from the feedback that each design had elements that portrayed the project but I still needed to pull together a single design that captured both the narrative and my voice in this project. Additional research into photobooks and how to develop your narrative resulted in the sixth and final design that I believe incorporates the feeling of the place and the male v female elements of the project. The use of a double bifold holds a panorama image of the location across both pages, by opening both pages you are presented a female coloured image and a male black and white. Each double bifold is separated by a Māori saying and a western translation which links the location to New Zealand and its history.
As part of the final design, I decided to include two separate pieces of collaborative work. The first was a written foreword, which would set the background to the project. A brief overview of the location without distracting from the images. It was important that this was written by a local author, a person who knew the area and a knowledge of the community. Through various networks I was able to contact and work with Jim Graydon the author of ‘On the Edge’, a book that details all of the communities within the Wairarapa. Jim agreed to discuss my project and provide a written piece that over a number of months we reviewed, discussed and changed to finally produce a single page introduction to the project.
The second written element was a poem. For this I worked closely with a fellow student. Jack Delmonte was part of a number of student forums that I attended so I had read his work on a number of occasions and knew that we could create a piece that would highlight the differences between the sexes of this community but would also emphasis the strengths of this often-considered weaker sex. Time zone challenges and study commitments resulted in a few delays but we finally agreed on a final set of verses which have received a number of very positive comments.
Not being able to submit a copy for assessment is a major disappointment as the book has such a physical aspect to it. The viewer needs to open both aspects of the landscape image to see what lies beneath. The hard outer shell of the location in the form of the panorama provides the detail of the narrative. To address this, I decided to produce a video of the hard copy version.
For me it was important to display this project in the form of a solo exhibition and this represents the final element of my submission. I have previously been part of club exhibitions and joint exhibitions with a local photographer. This needed to be solo exhibition and the location needed to support this. Larger galleries would mean the project was lost so the smaller gallery I worked with helped highlight and focus the viewer on the project.
I have documented my journey to the day opening of the exhibition on my course blog both in my Thoughts and Reflection pages and in a standalone section for the exhibition. The use of an alternative printing method in the form of platinum and palladium was very important to me. I wanted to use a technique that was unique, that was as old as the community and would last longer than the community.
The monochrome tones link the photographic genre of social documentary to that of the hard conditions of the location but also due the combination of the chemicals the images have a warmth to them that I think links to each of the women that I have photographed. For me the process provides an individuality and uniqueness. The digital negatives can be reused to reproduce another image but each will be different due to the application process and the combination of the chemicals, the atmospheric conditions on the day and the type of paper used.
The exhibition was reported to be one of the best attended openings for the gallery that year. The gallery used its own media outlet and postcards to local businesses to promote the event. I also utilised a number of my own personal and professional media feeds to advertise the opening and continued to highlight the event during its opening. The exhibition has now been moved to Ngawi for the New Zealand summer period.
Learning Outcome 3: Business and Interpersonal Skill Development
‘Operate in complex commercial contexts requiring the application of specific interpersonal, professional and business skills within an ethical framework’. – OCA (2020) Course Guide for digital assessment of Photography units
Over the last twelve months this course has given me the opportunity to grow as a photographer and to develop a personal network of resources that will be valuable in the future for any new projects I intend to produce. Through extensive on-line forums and social media channels I have researched and explored areas within the field of photography that I would not have previously considered.
I used my professional skills in negotiation, organisation and analysis to work closely with fellow students and professionals to form several collaborative pieces. Two written elements that were used within the published book and the third an illustration which I turned into a lithophane to house additional prints for the exhibition. Knowing what I wanted to achieve as part of this project was paramount. Setting clear goals and being able to articulate the narrative of the project to others allowed for on the whole a successful outcome. That did not mean I did not listen to alternative ideas, reflect on them and adapt to other suggestions when they added value.
All my interpersonal skills were required when trying to find a suitable printer. There were so many pitfalls around this very new to me experience. The book design was not something that could be sent to a standard publisher. I found out early and after a few false starts that only certain companies had the machinery that could print the double bifold pages on both sides and fold them to the correct specification. These bifold pages were key to the narrative and so finding the right printers was very important. Being able to explain and even showing a draft design of the book went a long way to elevate a number of the problems as the pdf files did not really show my final idea. For me working side by side with the designer was key to achieving a quality outcome.
Working with a small local gallery that focuses solely on local artists was an important aspect for my first solo exhibition. For me as an artist it was essential that I had control over the exhibition, from the printing through to the hanging. Using the prints and designing the layout on a wall and then migrating to a maquette I was able to explore different hanging designs to explore how this effected the narrative of the project. I had never used a maquette before as previous exhibitions was very much controlled by the gallery. At the time I was pleased with the outcome however when you have to make every decision you have so much control and an amazing feeling of accomplishment when you see the final result.
Learning Outcome 4: Dissemination of Work
‘Independently disseminate your body of work by establishing relationships and networks with audiences, clients and markets’. OCA (2020) Course Guide for digital assessment of Photography units
One of the easiest ways to disseminate the project was through a dedicated website. This was originally developed during Body of Work. As the project developed and my ideas changed through professional and peer reviews and external influences this site was updated to reflect these changes. The website was also included in any submissions I made for online competitions such as SOURCE, Glasgow Gallery and PhotoForum NZ.
I have both Facebook and Instagram. My Facebook contains both personal and professional elements of my life but I have always kept Instagram for purely photography purposes. Prior to and during the exhibition I used Instagram to advertise the event. I also used my networks and professional Facebook sites to promote the event such as NZIPP, PSNZ and the local camera club.
I also used social media to find outlets for my work such as competitions and workshops. Through this method I discovered Lux et Libera – an all-female organisation which promotes alternative photography and printing methods. On a monthly basis the group offers a platform to present projects and receive feedback. I took up this opportunity to present my work. The outcome of which was both informative and supportive. The group were all US based artists and it was amazing to experience other alternative creative methods within the photography genre. I managed to make some important connections which I think will be useful for future projects.
The use of social media by the gallery to promote my exhibition meant that my work was being introduced to a different audience within the area. This included artists that were not necessarily photographers but were interested in seeing and understanding different techniques within the artist field. At the opening I was able to discuss my work with writers, printers, painters and ceramicists. I was asked and agreed to be part of a mixed media exhibition that would take place later in 2023.
Learning Outcome 5: Engaging with your Audience
‘Confidently engage a public audience with your practice and analyse, review and evaluate information relevant to your practice, identifying opportunities for professional development’. OCA (2020) Course Guide for digital assessment of Photography units
The exhibition gave me a major opportunity to display and discuss my project to a live audience. Prior to this my work was reviewed by fellow photographers through the various student forums and with professional photographers following direct requests and open calls. The plus side of the exhibition audience was the fact that there were non photographers present so it was interesting to understand how other people viewed the work and to gain a different perspective on the project. Feedback on the day and following was very positive and I have been subsequently asked to discuss both the project and the platinum and palladium technique with other groups and to also form part of another exhibition for alternative printing later in 2023.
Learning how to print in platinum and palladium I believe will be just the start of my journey in alternative printing. I have already completed a carbon transfer printing workshop and I have documented this along with a video of me developing one of my project prints. Following submission, I aim explore this more and also gum printing and try solarisation within the darkroom and silver geltatin prints.
The alternative printing led to me providing a talk to my local camera club and for me to also present my project to a female only group – Lux et Libera, I believe this is going to be my direction going forward. I have not had much success with the digital prints in competitions but have with the platinum and palladium. I do not believe that competitions are my main interest but I would like to complete another exhibition and maybe a book of the platinum and palladium prints.
Michele Usher 