Professional context / Knowledge.
LO1 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.
During the process of creating the final printed book I have worked collaboratively with fellow students and a professional published author to enhance and support the images I have made. Throughout I have sought feedback and completed reviews and reflected on the comments and suggestions received. I believe that the written text both in the form of the foreword and the poem provides the audience with an initial understanding of the project without distracting from the images. Through research I have seen the importance of text but for its use to not distract. I believe my final published work offers a link through the text to the space and location but the main narrative of this project is clearly in the images.
Working with other third parties during the actual book production in the form of publishers and graphic designers was at times challenging. It was a clear lesson learnt to undertake additional research not only in the design of the book and understanding the many different types of binding, paper selection and printing methods, but also the ability of the publisher you wish to use. Being able to meet face to face with both the publishing company and their in-house designer was so important for my project and being able to discuss and explain my ideas as to the design this was an integral part to the narrative and the final result.
The use of an alternative printing method for my exhibition prints in the form of platinum and palladium was a deliberate choice. The process dates back to the 1830s and the first recorded inhabitants of Nagwi were in 1840 when the lighthouse was built and maned by one of the relatives of the project. The monochrome tones link the photographic genre of social documentary to that of the hard conditions of the location but also to the warmth of the women that I have photographed. For me the process provides an individuality and uniqueness to each of the images. The digital negative can of course be reproduced but the handmade image will be different every time due to the application and combination of the chemicals, the atmospheric conditions on the day of production and the paper used. Each image has been selected to be viewed as both an individual image but also to form part of the complete picture to this project.
Working closely with the gallery owner but also the construction of a maquette allowed me the time to experiment with different image selections and style formats prior to the final hanging for the exhibition. It was important that each image could be viewed individually but also to link to the next image to form the whole narrative. It was essential to allow space around each frame so that the detail could be seen without distractions but the elements within the frame could be carried to the next.
The use of an alternative printing method has allowed me to present my work to an on-line group for female photographers specialising in such methods of image production, not just platinum and palladium but a range of different techniques. This opened up my project to an international audience giving an opportunity to highlight the technique as a process for a social documentary project but also to place New Zealand on the international map. This network will allow me to progress my professional practice, to develop and to continue to grow as a photographer in alternative printing methods.
Creativity.
LO2 coherently present a body of work, making creative presentation decisions that complement your subject and/or your artistic strategies.
This project has changed over time due to a number of external factors. The main one which was completely unexpected was the onset of a world pandemic. This resulted in OCA directing all submissions to be on-line and in a digital format. Unlike many I was lucky that is occurred early within BoW and I was able to make key decisions as to how my final work would be presented but to also experiment with other ideas and techniques that could be considered if lockdown continued into SYP. My work progressed along two main paths; the production of a book and a local exhibition, but along the way other ideas were considered, evaluated and reflected upon.
Prior to COVID the production of a book had only been thought of as a gift to the women who had taken part in the project. This was following the consideration of other options such as prints, scarfs or small resin blocks. The draft book produced and videoed for my BoW submission did not receive any real feedback and so the decision to gain several professional reviews helped me re-evaluate my options for progressing this during SYP.
It was clear from the reviews that I needed to reflect on who my audience would be, to find my voice and to focus the narrative through careful editing and image placement and even the final book design. Taking the initial draft to pieces and starting again was not easy but was the best way to formulate and consider new ideas and approaches.
Using a combination of images pinned to my wall and software tools such as InDesign I created five different approaches/styles to portray the narrative of the project. At each stage I sort peer review and external feedback from various social forums. It was clear that although InDesign was an excellent tool for designing the pdfs it produced failed to help me show my full ideas, especially when I wanted to use bifold and overlay pages, so I decided to print and video each design and then ask again for feedback. Seeing and feeling the physical book, even though a draft allowed my audience and myself to really see the detail of the design and gain a fuller understanding of the narrative. I found this approach to be the most valuable and through reviewing feedback and discussion I created the final version that would progress through to publication.
Finalising the design was just the start of the final book production. Once I had found the right publisher there were numerous decisions on the type of font and style, the overall size, the binding, paper weight and whether the print should be matt or gloss. Ensuring I had selected the right printer and designer made this whole process so much easier. Having easy access to them helped as we could discuss different options and approaches. Being able to see and review the various mock-ups allowed me to make decisions and changes along the way. This interaction was pivotal to the whole process.
New Zealand went into lockdown hard and fast and although this meant locations could not offer exhibition space during this time it was still early in my BoW journey and so whilst I continued to explore other options such as timelapse of the decaying cray – the main form of income for Ngawi I still remained hopeful that we would come through the pandemic and centres would open, so I continued to work towards an exhibition which would either be on-line through one of the many new platforms that other students or professional organisations were using or in person.
Prior to and during this degree course I have submitted work for exhibitions within New Zealand. These have either been inkjet or silver gelatine prints that have formed part of a joint or group exhibition. For my first solo display I decided to explore an alternative method of printing, that of platinum and palladium. Not the cheapest method but one that I think links strongly with the location as the technique dates back to 1830 and Ngawi dates back to 1840. The different combinations of the chemicals produce different results, a higher percentage of platinum will give a more traditional black and white documentary feel to the image. I wanted to keep the documentary feel but offer a warmer tone to the images. This involved experimenting with different combinations and research from other photographers that specialise in this technique. I believe I have achieved this balance with the images I have produced.
For me the choice of location was extremely important. Initial thoughts were based around a large art museum which I have exhibited at before and caters for many different creative formats and both national and international artists at any one time, however for this project I wanted the work to be presented and seen in its own space, with no distractions, so when I found a gallery that just exhibited local Wairarapa artists I made the decision to book a time to take along my project and discuss my ideas. These were initially going to be digital inkjet prints but over time I changed my ideas to platinum and palladium prints which were more fitting both for the project and the gallery space. The process has made the whole project more personal and unique. These prints cannot be reproduced and I think this gives a certain level of justice to the women who live and work in Ngawi and gave up time to be a part of this project.
LO3 operate in complex commercial contexts requiring the application of specific interpersonal, professional and business skills within an ethical framework.
This course has allowed me to grow as a photographer and to become more confident in talking about my work and explaining my thoughts and ideas not just with other photographers in the on-line and zoom forums but to other creative artists such as painters, writers and those in mixed media of textiles.
Working with fellow students and a professional writer as part of the collaboration which forms part of my final book has drawn on my skills gained over the course but also allowed me to utilise other aspects of my professional life, such as negotiation, organisation, deadlines and reviewing. Knowing what I wanted and being able to explain this was important, but also listening to other opinions and reviewing and adapting to external changes has been important as factors beyond my control needed to be addressed and catered for.
These skills were also important and came to the fore when working with the various publishers. Trying to ensure my vision was achieved relied on the ability to explain the design clearly but also being able to adapt to the fact that several wanted to change the design to fit their printing capabilities so sticking with my design and vision did mean that during the process to find the right printer there were several disappointments. My ability to plan and allow enough time ensured that the book was printed prior to my exhibition so that they can be sold at the same time.
Ensuring that my project has been organised and maintained in an organised format has allowed me to submit my project and images to the Wairarapa Arts festival, the OCA Student Association ‘edge-zine issue 12 – identity and the online SOURCE student group submission. All applications were successful although other competitions were not.
Presentations and Outcomes.
LO4 independently disseminate your body of work by establishing relationships and networks with audiences, clients and markets.
Throughout the course I have gained and developed my network through attending regular on-line student groups such as the L2/L3 Student forum, SYP Support Group, SYP Network and the Rest of the World Group that has allowed me to interact and experience other areas of the creative arts (writing, textiles, painting and creative arts) and the OCA as an organisation. This group has been invaluable when I needed feedback on my work. They offered a different perspective which allowed me to develop my audience and consider different angles and ideas. The support led to me submitting work to both SOURCE and the edge-zine which were successful unlike other on-line competitions which I have not been comfortable with entering as my project doesn’t fit with mainstream competitions.
Through professional portfolio reviews I have gained relationships with both national New Zealand photographers and international ones in the form of J. Sybylla Smith and Rohan Hutchinson who have provided feedback and on-going support to help me format my final submission.
The use of social media has allowed me to reach a wider audience to both publicise and sell my book and exhibition. The medium has also allowed access to other groups that specialise in alternative printing and for me to talk about my work (Lux et Libera group) and show examples and discuss issues and ideas with like minded artists from around the world. This has been a great opportunity for me to gain greater confidence in my work and my ability to discuss future projects.
The use of professional social networks such as the NZIPP and PSNZ provided me with a platform to request support for both advice and support to other areas of photography when I needed to complete additional research into the area of forensic photography. Through this network I was able to gain access to and interview five individuals to complete a standalone analytical piece of work.
Working with the local gallery has increased my network within the Wairarapa and within the greater circle of local artists. I have been able to explore other areas of expertise and discuss possible future collaborative projects which may be undertaken following the completion of this course.
Assignment 3 – forensic photographers
LO5 confidently engage a public audience with your practice and analyse, review and evaluate information relevant to your practice, identifying opportunities for professional development.
The exhibition has given me the first opportunity to display and discuss my project directly with a live audience post the COVID lockdown. The work has been peer reviewed through various mediums and forums the majority of which have been photographers. This will be a first showing to non-photographers who will have the opportunity to both discuss their thoughts on the work but also to leave comments.
For me the ability to provide access to the physical prints has been an important one. Each image can be viewed as a standalone piece but also form part of the larger project. It will be interesting to see and hear their reaction to the work. From their feedback I would hope to incorporate and reflect on changes to grow as a photographer within the social documentary genre but also as an alternative printing practitioner.
Throughout the course and into the future I have/will attend talks, presentations and group meetings that are both relevant to my current practice but also in areas for future projects. A number of talks have been directed at next steps and ideas of other areas of study or collaboration; these will be progressed as I would like to expand on my practice and understanding, pushing myself outside of the comfort zone and growing as a photographer, working on the foundations laid by this course and the networks I have gained over the years.
The talk with the Lux et Libera Group and my local camera club has resulted in a number of people reaching out to understand more about the alternative printing methods and I have already arranged to progress my own personal development in other areas by attending a carbon transfer printing session in November.
Michele Usher 