352MC Professional Photographic Practice – Lecture 13 (One-to-One Tutorial with Anthony Luvera)

On Wednesday 6th May 2015, we had another day of university that was dedicated to the 352MC Professional photographic Practice or Final Major Project (FMP) module. Similar to the previous week, on this day we had optional one-to-one tutorials with both our lecturer Anthony Molloy, and our assistant lecturer Emma Lambert. As there were only limited appointments available for both lecturers, in order to be fair to my course peers (as well as the fact that I really needed to update Anthony on my FMP development), I decided to only attend a tutorial with Anthony. The feedback that I received within this one-to-one tutorial, as well as the key points that I am going to be taking away from today, can therefore be found below (please note, any descriptions or responses I provided can also be seen below in italics):

 

One-to-One Tutorial with Anthony Luvera:

As briefly suggested above, within this one-to-one tutorial that I had with Anthony Luvera, I simply decided to update him on my development within my FMP. Below you will therefore be able to find notes on the stages that I discussed with him (including some of the visual examples I presented) and the feedback that I received:

Final FMP Photos

  • So I’ve got my final six images from each of the locations, but theres one image that I think I’m going to take out because I don’t think it works well with the rest of the collection (Photo 3 on the PDF included above – it’s a lot darker than the rest and elicits a slightly different atmosphere)
    • I agree that we should take that one out
  • Are you looking at presenting all five?
    • No, I was looking at presenting just one, but tomorrow I need to experiment with different display options like diptych’s, triptych’s, and different installation pieces
    • I think odd numbers often work better (so 1, 3 or 5), but it depends on the nature of the work of course
  • Is there text to go with this?
    • Not yet no – I haven’t created it yet, but I know the content that I want to include and I think I’m starting to decide on the style of writing I will be using
    • I should be writing them this weekend, and then hopefully bring them in for a tutorial next week
    • That sounds great, but don’t underestimate text – you’ll need to redraft it a number of times before it’s perfect
    • Looking at the sample text that you’ve printed for the experiments tomorrow, you’re thinking of using a lot of text
      • It’s quite an investment to ask someone to read it all – not that it cant be done, because lots of practitioners use it as tool within their exhibition pieces
  •  How are you thinking about using objects? Because I think you’re onto something interesting with the still-lives
    • That’s what I need to organize tomorrow, I’m going to look into which is better, the use of the physical object or the still-life images, and I am also going to experiment with the more “out-of-the-box” installation idea about the pathway leading to the image
    • I’m literally going to be experimenting with everything tomorrow, to see which best works with my projects concept
    • I think that’s definitely what you need to do – document that process and analyze which one you think works the best
  • But for the exhibition, I was thinking of just showing one, final exhibition piece and then having the rest of the images in a portfolio like you suggested in the degree show meeting prior to this tutorial (where we discussed the production of the degree show and hand-in requirements)
    • So I just need help choosing which one, because loads of people have suggested one image but I’d just like to hear your opinion
    • Well I haven’t seen the finished piece
      • You’re talking about using text and objects, and this is just one component – I don’t think we can make a decision about which one to use until we have seen the final exhibition pieces
      • But I think that all of the images are very interesting and beautiful, I think they’re all great
  • The next step that you need to take is creating these five final piece with the text and the physical or still-life object – and then you can make the decision regarding which one to present
  • I think the thing to do is to make sure that you’re on time with your production deadlines
    • So if you need to get these images printed up somewhere, just make sure that you can work to that deadline
    • Definitely, well I’ve sent off for some samples in this place in Bristol called Redcliffe Imaging (I think), but I should get the test prints back this week
      • Then once I get the test prints back and decide what size I want my images to be and the paper I want to use, I’ll send off my final prints to be printed
  • So how are you thinking of applying the work on the walls?
    • At the moment I was literally just thinking of frames, but it depends on whether I want to use the physical object or the still-life image as to whether I get a deeper box frame or not
    • Have you done some research into them?
      • I have looked at a couple of online suppliers, but I have been told that there are a couple of framers in Coventry that I am going to go and have a look at on Friday
    • What kind of frame are you thinking? Wood?
      • Well I do quite like the wood texture just because of it’s association with the landscape, but I’m unsure as to which wood I would use, and I’m also considering getting a painted wood as well – these are things that I’ll need to test tomorrow during my experiment
        • Could you find out the main type of wood that is available within the Lake District and go from there? Or maybe just a simple oak would be nice? – I think the Oak would really bring out the colours and resonate with the natural environment
    • Are you going to have the photos mounted on a hard backing? And what sort of width would you have the frames? – These are all things to think about
  • Just another question about the portfolio box that you discussed in the Degree Show meeting – how would you suggest I do the portfolio?
    • Obviously I know it’s difficult to say because I have decided whether I’m using the object or the still-life image, but I was thinking of having small prints of the photos, text, and still-life image, and then perhaps writing on the back of the still-life that this would be a framed object?
      • I think you need to imagine that you’re sitting down with a gallery director, and you want them to give you an exhibition, what do you think would sell the idea to them better? The way you suggested, or and exhibition installation photo?
        • I was definitely thinking that an installation photo would be best, but then would I literally just use the experimental photos I create tomorrow?
        • If they’re high enough quality, and if they look like they’re in a gallery
  • Have you made many more of the still-life images?
    • Yeah, I decided to photograph each individual object, and then I group some of the objects together to show the items that I picked up in the same location
      • I think they’re really beautiful, and I like the individual pieces
      • I think you should experiment with using a small number of these still-lives with some of the landscapes (and text)
  • You should be quite free with the display – they could either be framed within simple oak frames so that they don’t overpower the work, they might be hung quite close together on the wall (not grid-like, but something to emulate the randomness of nature), or they could be just pinned or taped to the walls
    • If you could refer back to ideas underpinning the work within your display (for example, the natural environment you are documenting) – I think that could be a really useful key to refer back to when thinking about the presentation strategies
      • You need to think about frames, how the images are laid out, different things like that
  • Have you got any experimentation with the text?
    • Well last week, when David Rule asked the same question (please see the blog post “352MC Professional Photographic Practice – Lecture 12 (One-to-One Tutorials with Emma Critchley, David Rule and Caroline Molloy)”), I told him that this idea of using text actually stemmed from one of my previous modules called #Phonar, and the “Transformative Storytelling” task that I completed, where I looked into flicktion (where individuals take an image from Flickr and use it to write a story)
    • (I then showed Anthony Luvera the piece of writing that I wrote for this particular task, which can be found at: https://hollyconstantinephotography.wordpress.com/2014/10/28/phonar-session-four-task-transformative-storytelling/)
      • This is a very long piece of text, and I think that’s great, and it’s not impossible to use long pieces of text in a gallery space, but I think you need to experiment with the actual text piece itself as an aesthetic experience for the gallery, and a thing to be read
  • I think your day of experimentation tomorrow is a really good thing, and I think that it will hopefully stand you in good stead to make some decisions on how to finalize your project
  • You’ve worked really hard

 

Key Points to take away from today:

  • For exhibition pieces, odd numbers work best
  • I shouldn’t underestimate text, because it will need to be redrafted a number of times before it’s perfect
  • I should also carefully consider how much text I will be using within the piece because it’s quite an investment to ask someone to read it all
  • I should spend time experimenting with each of the exhibitions presentations I am considering (which I will be doing tomorrow)
    • I also need to be quite free with my display and should try and relate this presentation methods back to a concept explored throughout the project
  • I also need to make the final exhibition piece for each landscape photograph, and then decide on the strongest piece to use within the exhibition
  • For the portfolio that shows the rest of my images in the collection, I should use installation photographs rather than the individual pieces
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